📽️ 🎞️ 📸 ⤳💾✨ DIY 🛠️ 8mm Film Scanner, Part 2: Film cleaning, camera set-up, test scan

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This is part two of a series. The goal: "scan" 8mm and Super-8 film digitally using a mirrorless camera + macro lens set-up, making a 4K+ RAW photo-to-video workflow a possibility.
Commercial film scanners exist, but I wanted to try building my own, and also have the benefit of best "theoretical" quality. With an uncompressed source, I have the ability to edit scanned footage in a lossless way before exporting a final video - either in lossless, or compressed-only-once format.
In this video, I talk about how I physically clean the film, how I set up the camera (physical alignment and software / hardware settings,) and finally, how I run a "test" scan of some film and determine a target lighting / exposure balance.
RELATED VIDEOS
If you haven't seen, Part 1: • 📽️ 🎞️ 📸 ⤳💾✨ DIY 🛠️ 8mm...
Part 2.5, an interim update with Q&A etc.: • 📽️ 📸 💾✨ DIY 8mm Film S...
In the words of Tori Belleci from the TV show, Mythbusters: "If it's worth doing, it's worth overdoing."
Comments, critiques and questions are welcome! I've had fun both working on this project, and making this video. I'm not an expert by any means, on any of this stuff; I'm a software engineer by profession. Hardware and tinkering as such is not my usual hobby. Like many other things, I consider it a work in progress. 😅
🙇 CREDITS
I owe thanks to a number of people, videos and web sites for inspiration and guidance.
Ken Eckert's adventures in using a real scanner to digitize film:
• How to Convert 8mm/Sup...
Related studies in motorizing projectors, etc.:
keneckert.com/kenfilms/telecin...
Dronebot Workshop on Stepper Motors:
• Stepper Motors with Ar...
Curious Scientist, Arduino + TB6600 controller:
• TB6600 and Arduino - W...
🎼MUZAK 🎵
If you caught it, there's a subtle background soundtrack on this video. It's from a live mix that I did which is also on RU-vid. • 🎛️Analog Experiment: F...
⏲️ Timeline:
00:00 - Introduction
00:18 - Cleaning film demo
01:35 - Loading film into the "scanner"
02:35 - Updated Arduino Nano Electronics
02:47 - Loading film leader, mechanical test
03:01 - Camera, lens and mount hardware details
03:32 - Camera set-up (live view, etc.)
03:55 - Aligning camera, focus highlighting
04:32 - Beginning film scan
05:01 - First scene, adjusting exposure
06:41 - Highlights vs. shadows
07:21 - Camera shutter, aperture settings
07:55 - Adjusting for under-exposure
08:36 - Adjusting for over-exposure
10:04 - Increased scan speed, finishing scene
10:25 - Demo: Video from scan test (post-processed)
10:49 - Post-scan: "Rewind" mode on projector
11:21 - Thanks, ending, Part 3 teaser (post-processing)

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Опубликовано:

28 июл 2024

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Комментарии : 66

@bryanmanio_ 3 года назад

I'm loving the evolution of this thing.

@scottschiller 3 года назад

Thanks. As you know, a work in progress! ;)

@pocketchange892 2 года назад

this is amazing!!

@brianmuhlingBUM 6 месяцев назад

Thanks Scott.

@LarryRood 2 года назад

Outstanding!

@scottschiller 2 года назад

Thank you, Larry! This was a fun project, and I’ve had some great responses from people who have also made their own builds and provided ideas and suggestions.

@brianmuhlingBUM 6 месяцев назад

Hi Scott, I have been studying all the digitizing systems on RU-vid and in October, launched into my own system using similar technology. I will say right now, your system and Fresh Ground Pictures are by far the best systems. I have nearly completed my system using a Eumig 810D projector for the movement because I used these machines from 1986 when I first did film to video transfers with excellent results. I have bought the wrong camera. It is a Sony A6000. I will sell it and purchase the A7 series because the A6000 is far too slow. It has a buffering problem. My bet is, you do great voice overs! Thanks for explaining your system I learnt plenty. Brian 😊

@scottschiller 6 месяцев назад

Hi Brian, thanks for the kind words. I think Fresh Ground pictures had seen my project as well, but improved on some of my design choices! Their build looks great. Hopefully your next camera is a little faster, and less prone to buffering limitations.

@andrewwise5095 3 года назад

Really interesting to see! I've been wondering about the Laowa macro for this use. glad to see it does the job very well. I'd definitely recommend getting a set of old film rewinders for cleaning. it's a lot easier to hand wind while holding the cleaning pads in your hand, it allows you to stop regularly to change the pads, and easily inspect then for dirt. You don't really want to be running them dirty as it will scratch the film. the hand winding also allows you to wind slow enough to allow the film to dry before being taken back up. if it winds up wet you could find it sticking together or leaving glossy stains on the film. Also beware using iso on mag stripe film, sometimes it could strip it off.

@scottschiller 3 года назад

Hi Andrew, thanks for the notes and recommendation! I had looked into rewinders initially, for cleaning purposes. Agreed, need to be careful regarding dirt and potentially scratching or making the film worse. So far, I haven’t noticed any obvious degradation from cleaning using my approach, testing film bought from eBay. I’ve also tried using two pads as well, a wet / dry that may help ensure the ISO/IPA is removed. Good point on audio tracks as well (assuming mag-stripe?), thanks! I have one Super-8 film that has a visible waveform - I have a feeling it is not the magnetic kind.

@tiomannysworld6835 3 года назад

Great work Scott! loving the whole series as well!

@scottschiller 3 года назад

Thank you! It’s a work in progress. I will have a bunch of updates for Part 3, coming soon.

@tomrhardwick 3 года назад

There are indeed lots of things to consider. Normally when we watch projected Super or Standard-8 we're shown each frame three times, then the claw pulls the next frame into the gate and we're shown that frame three times and so on. This gives a flicker rate of 54 Hz on screen. This is 'acceptable' to most people, but it still flickers. TV on the other hand (CRT or flat panel) is a continuous light source, so each movie frame need only be shown once. Problem is that 18 frames have to be extrapolated out over 25 frames in our case, and 30 in yours. So although I'm capturing all 18 frames in every second, stepping through the timeline shows the computer has almost done a mix 'n' match job in an effort to make it look right. Careful analysis shows that sometimes the top of the frame is one frame ahead of the bottom of the frame, and sometimes two frames are overlapped due to interpolation. But how does this gooey mess look to human eyes on screen? Surprisingly good funnily enough, so I'm convinced that photographing every single film frame is technically superior to my 'refilm the gate at 16⅔ FPS' but (because of the inevitable and subsequent interpolation) unnecessary. We humans are not adept enough to spot what's going on at the single frame level. As my dad used to say, if a thing looks good it generally is good.

@scottschiller 3 года назад

Sorry I missed replying to this earlier! Good info. I have noted some flickering when watching film on projectors, I wasn't sure exactly how it worked. The 54 Hz aspect sounds about right, yes. When I export MPEG-4 video here, I actually specify 18fps as a frame rate and I think that carries through until display time where it's up to the device to do re-timing or interpolation or what have you.

@tomrhardwick 3 года назад

You can export MP4 files and specify they be 18 FPS? How strange, but then I suppose these days 24 FPS looks to be a strange frame rate. TVs can handle all sorts of frame rates, so I suppose it grabs those 18 different frames and spreads them out over 1 second, even though our TVs show 25 FPS and yours show 29.97. I think that's asking a lot for a TV to do this on the fly. Better to give the computer's horsepower render time. and

@scottschiller 3 года назад

DaVinci Resolve, which I use to edit and export, allows frame rates of 16 or 18 FPS among others. I think the MPEG spec is pretty flexible on frame rates, but it's probably wise to stick to conventional standards. Theoretically, when you have a 1:1 frame match for film-to-MPEG, your MPEG bitrate should be quite efficient. Each frame could be an "I"-frame at the highest bitrate, and you wouldn't have any extra interpolated frames. All this said on frame rates and whatnot, I do think TVs and displays are good at upscaling and converting as needed. I've seen some "smart" TVs that also have "smoothing" features which try to interpolate between frames and sort of resample motion, which I personally find annoying - you can tell something just looks "off" when watching older TV shows, for example. I've gone back and forth between exporting scans at 4:3 and 16:9 also, just to see how RU-vid treats them. With some Super-8 films I've seen where the picture is "full-width" across to the sprocket holes, that aspect ratio can approach 16:9 - so it fits rather well.

@tomrhardwick 3 года назад

Another point Scott. I see from the settings on your A7Riii that you have Neutral with all three adjustments (contrast, sharpness and colour) all set at zero. I've found that because reversal film stock was designed to look good rather than be copied, the contrast is set unnaturally high. I have my A7Rii set with -3 for the contrast and the other two on zero, and I get far fewer blown highlights on my digital copies of hi contrast Kodchrome 40 shot in the 1970s sunlight.

@scottschiller 3 года назад

Interesting! If these are “baked in” and affect RAW images, that would be news to me. My understanding was that picture profiles, at least, shouldn’t matter in terms of raw photos. Additionally, I don’t think I can set or change a picture profile or picture effect when the silent shutter is engaged.

@tomrhardwick 3 года назад

Of course you're right, my bad. I'm shooting the moving film using XAVC S HD @50p and 50M, but your method of shooting individual raw frames has be be better. In PAL land I run the 3 bladed projector at exactly 16⅔ FPS and timeline speed correct it to 18 FPS. No flicker, but quite a few interpolated frames of course.

@scottschiller 3 года назад

Very interesting! If you have the time, I think a video of your project would be neat to see, and others on RU-vid might find it useful. I've seen a number of projects where folks are shooting video similar to you, and I imagine the specifics of timing, the shutter and frame rates are critical to getting a good picture. It's unclear to me what if any effect the "rolling shutter" and "180° shutter angle" may have when doing video of moving film. While you benefit from a near real-time conversion, there are lots of moving parts to think about!

@lostinthecrypt Год назад

Great video, thanks for the idea of using a ping pong ball as a diffuser. What is the drawback of using camera auto exposure with center-weighted metering, so that overblown sprockets won't ruin the rest of the frame?

@scottschiller Год назад

Thank you, and pardon a late follow-up, here. My suggestion is to use a manual / fixed exposure for consistency, so your frames have the same “lighting.” Otherwise, you will end up with a movie that flickers wildly with varying exposures.

@kappeyne 3 года назад

Thank you very much for sharing your approach on film-to-video conversion with us. Your videos are detailed, indexed and have a humorous touch. Hats off! A lot of work went into making these on top of your original work itself. A question: there are several software choices available to assemble successive images into useful video. Which one did you settle on?

@scottschiller 3 года назад

Thanks, Michiel! I've enjoyed working on this series, and I'm glad folks are finding these useful in addition. Based on my own experience, I use Adobe Lightroom (Classic) for the raw post workflow, and then DaVinci Resolve for the editing and export from image sequences to video. I also have a handy plug-in for cleaning up video, which I intend to detail in Part 3 as well. I talk a little about that here, in "Part 2.5." ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-hthVoeRgbos.html

@kappeyne 3 года назад

@@scottschiller Thanks for your reply, Scott! This must not be easy because you've built quite a fan base asking lots of questions. As so many others here I'm doing a project much like yours and will follow what you've been up to. I'm repurposing an 18-5 Bolex projector because of its very fine film gating and will use optics involving bellows and an inverted enlarger lens. And synchronized frame-by-frame as you do. Loving your sensible and practical approach.

@scottschiller 3 года назад

Thanks, Michiel! The feedback and responses have been great, and were a bit of an unexpected surprise; I seem to have hit on something people are interested in! I wonder if COVID has played a role, with folks being at home more often and able to dig into hobbies and side projects like this. Anyways, it sounds like you’ll have quite the set-up yourself. Do follow up as it progresses, it’d be great to see! I am waiting on some gear before I get Part 3 finished, but it should be a good one - I’ll cover a lot on the Lightroom / DaVinci Resolve workflow I use.

@kappeyne 3 года назад

@@scottschiller ‘Looking forward to your next video! And yes, I believe you did hit a nerve, even more so because your videos on this subject are at once lucid, generous, funny and technically sound. You really manage to involve your audience and have us root for you. I’m especially interested in how much information it is possible to extract from a single frame so I can use that as a standard. ‘Still using halogen light because of its continuous spectrum, and good optics optimized for flat field. Hence the inverted enlarger lens and bellows. It sounds expensive but it isn’t-it’s all on eBay at low prices because few of us use these things anymore... ‘Happy to keep you posted.

@scottschiller 3 года назад

I appreciate the kind words, Michiel; thank you! I hope that “Part 3” delivers what folks are looking to see next, and I’m honoured to have some content that people like. I wasn’t aware of the “flatness” of halogen, that is an interesting point! I look forward to seeing what you build, and how it goes. I think scanning at high resolution and exporting in 1080p HD is OK, but I see no harm in UHD 4K (2160p), either.

@tomrhardwick 3 года назад

Another thought Scott. I see you struggling to move the camera and lens assembly to align them with a single frame - without having the next frame intrude. Can you not just twiddle the knob marked 'frame' on your projector to reposition the frame in the gate?

@scottschiller 3 года назад

Ha, yes! I realized this after making “part 2,” and will include that with some other findings in part 3. I now have the frame much more nicely centered, vertically.

@ERaven-wl2fe 3 года назад

Hi Scott, you did not only a perfekt set-up of a DIY Film transfer but also a very comprehensive description of it. So it is a perfect guidance for me just starting to build my own. Could you assist with some more details: What is distance of the objective front lens to the film surface? What is the diameter of the Laowa macro lens? This could be a difficult point with many projektors since their body prevents to move the lens closer than approx. 5 cm to the film. How did you so the video processing, which software is required/recommended? Best wishes, Ed (from Germany)

@scottschiller 3 года назад

Hi Ed, Thanks for the kind words, and I’m glad you’ve found this video of interest! I’ve learned a few things along the way, and I have a “Part 3” planned which will hopefully add some more detail including post-processing and eventually, video exporting. I use Lightroom and DaVinci Resolve, respectively, for that. I don’t have the camera and lens set up at present, but you are correct in that the barrel of the lens gets right up to the side of the projector body. It may be necessary to remove or carve out some of the body shell to make room for the lens, in some cases. So far, I haven’t felt it necessary to do in my case. It is pretty tight, though.

@mavillejones5908 3 года назад

Would it be possible to convert this setup and the 8mm canon projector to scanning 16mm film, or will there be problems with lighting or getting modifications to fit? This is amazing, thanks for these videos, i havent seen diy scanner projects look this good, especially with 8mm

@scottschiller 3 года назад

Thank you! I am actually interested in doing this very thing in the future myself - so, "stay tuned"? ;) I purchased a 16mm projector not long ago, and I am eager to try something out. In practice, it's the same set-up. You need a way for a motor to drive the projector, and then a way to illuminate and expose the film to a camera that's aligned with the film gate. The actual size of the film, gate and so on, doesn't matter for the scanner I've built here. As I understand, 16mm film has enough detail to justify a "2K" scan - so I'd argue it's even a better reason to scan at 4K, and reduce your final video if you so choose.

@TheRealHarrypm Год назад

Going through your video and noticed with the Sony A7RIII you used hi+ mode which is 12-bit raw not 14-bit raw so your actually losing 2-bits of depth range and its compressed lossy raw not the 14-bit uncompresed raw in that mode, same for ISO 250 the native is iso 100 for photo ISO 50 also is handy in terms of noise on the ADCs, though if you want the most exposure range the stock optical filter stack can be replaced, this camara has been my main for a few years so its been fun getting to know it inside and out lol.

@scottschiller Год назад

Good info, thanks for the pointers. In retrospect, this would have been nice to know back then. I thought I had a compressed lossless option in the menu, but wasn't sure how to verify the output. All I knew was the .ARW files were much smaller and not ~80 MB each, etc. I think sometimes I found the hi+ mode would cause multiple exposures to happen, so I would sometimes slow it down.

@TheRealHarrypm Год назад

@@scottschiller No one reads the manual hehe, hi+ mode drops colour range for a fps bump as the buffer is limited hi+ is the 8~10fps burst mode standard is 5~6fps if held down, Its not the end of the world with high exposure low ISO shots but it does lose a lot in the shadows etc real world its out the window unless doing sports or high speed stuff. Now current gen bodys have 10-bit HEIF thats replaced 8-bit JPEG and the 14-bit raw now has compressed lossless and small/medium/large modes on the A7RV etc. Adobe lightroom will tell you the bitdepth of the files its a metadata field thats also carryed to DNG which is just a tweaked version of TIFF I like it as its lossless but also it intergrates well to CDNG workflows while saving the dynamic range of the orignal raws, but after cleanup its nice to go to FFV1 in the mkv container for archive most people are alos using the visually lossless 4444XQ for editing.

@scottschiller Год назад

Thanks for the metadata pointer and model-specific info. The extra few bits, and lossless compression might help in recovering very under-exposed film, etc. My guess is with 8mm and super-8, anything above “1080p” should cover the frame and detail pretty well. That said, I aim to scan at the highest detail I can-“just in case.” 😅

@TheRealHarrypm Год назад

@@scottschiller Well personally I think once you get the grain resolved thats about it, but with modern film stocks people are running there is a lot more information potential, but bare in mind for youtube the 2160p and 4320p brackets have the best encoding and now you can provide 10-bit in HDR or SDR colour ranges too its a shame the 1080p bracket which is ideal for 8mm is now getting worse compression wise. I'm used to working with analouge tape thats all fun and lines of resolution, but FM RF capture and now vhs-decode de-modulating and time base correcting the frames in software rather then 1000USD dying bits of ex-brodacast hardware makes it all more fun, we have reached peak archive for analouge era mediums but dispite working on tape film is never going to go away it seems like, but then again I got 1 super8 cartrige and 400 VHS tapes so I have put off my own film scanning workflow for last, I think modifying projectors definitly takes a lot of hassle out of making a Gugusse Roller system from the ground up!

@scottschiller Год назад

I’ve tried a few 10-bit HDR (iPhone 14 Pro) videos, still not sure if they work “as expected” on RU-vid in the browser uploaded as H.265, but I’m hopeful. Agreed on 2160p being “preferable” overall for encoding. I don’t know if you have a channel or place where you post info like this, but I think people would be into it!

@jean-philipperobitaille2273 3 года назад

What type of microphone did you use for your voice, really good sound, i do the same but with S7-1200 PLC works great, thanks for inspiration.

@scottschiller 3 года назад

Hi Jean-Philippe, I’m glad you liked the sound! I think it turned out well, for a $40 lapel-style mic from Amazon (brand: “PowerDeWise.”) I imagine similar quality could be found for a bit less, but I liked the clip and adapters that came with mine. The other big thing was the EQ - boosting low and high frequencies by a few dB, as well as some free “de-esser” and click removal plug-ins. I found some guides online for doing this in Audacity (free sound editor), and the audio here is the result of that.

@jean-philipperobitaille2273 3 года назад

@@scottschiller Cool was thinking a Shure MV7 style, i used Audacity too to clean up audio sound on 16mm film tracks.

@RolfSte 3 года назад

Hi Scott, I just built a scanner very similar to yours. I scan the older "regular 8" and the "newer super 8 with sound". Exposure is a real problem. I'm using "bracketing" - so called for PANASONIC LUMX. My settings produce 3 exposures, taken with 3 shutter speeds, for one trigger. This results in 3 images, that differ in one stop. In post, I can select the right exposure scene for scene. Of course, this takes a little bit longer for scanning.

@scottschiller 3 года назад

Thanks for sharing, this sounds really neat. If you post results and some video of your gear at work, let me know! Thus far, I have only one Super-8 film with a visible soundtrack. I have yet to try decoding the waveform from the image, but I believe it can be done via software as well. Getting the exposure is tricky, indeed! As seen in this video, I try to find a suitable exposure time and adjust per-scene if really necessary during scanning. I'm familiar with bracketing from digital photography, and your use of it for film scanning sounds neat. You must be quite patient, waiting for 3X(?) the time it takes to get those shots and then "in post", choosing the right set of images per scene. I imagine this approach pays off later on, when you find differences in lighting between scenes. If you're getting three raw images from this (vs. just JPEGs), that's even more headroom for post-processing. That must take a lot of disk space, but I wager it's worth the investment for family memories on film and that sort of thing.

@RolfSte 3 года назад

@@scottschiller hi, I'll will upload some video next time. For sound, I filmed with super 8 KODAK cassettes, which have magnetic sound embeded. As I also own an Bauer projector for super 8 with sound and regular 8mm. So I'm able to record sound from this and add it in post. But it's terrible sound: projector adds mains hum and the sound wobbles with the images, plus some hiss. I reduce hum with an notch filter - 50Hz for us in Germany - and dampe hiss in the higher frequencies. For exposure: because I have large, long running spools of bw regular 8mm, I don't want to sit beside the projektor and correct ervery scene. These long running films are also the reason why I am just adding a light barrier to the feeding mechanism, to guard for film breaks - old glued cuts - and end of film on fedding spool. My workflow - at the moment - is take 3 JPG per frame, differing one stop, import into Sony Vegas Pro, one timline per stop, cut scene per scene and select best exposure. Then record and clean sound, import in SVP and sync image timelin to sound timeline. This include some slowing down the image timeline. What's your workflow, especially, how can you import RAW single images? I also have DaVinci Resolve, but I have to buy a new graphics card, because the latest issue of Resolve doesn't work with my - I admit - actual one. But this workflow is sufficient for my spectators. My problem is, that my 2:1 macro lens are a little bit thick - 60mm diameter - and I cannot come close enough to the frame window, the construction of the projector doesn't allow this. But I thinking about it. On the other hand, lots of projects are waiting: check my REVOX A77 breaks, after refurbishing electronics, develop electronic for my model railway... And last but not least, film scanning is an open field: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-kmGhHNWg8Bc.html ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-QOrl4dzVMlk.html

@scottschiller 3 года назад

This is great info, thanks! It sounds like we have a few common projects between film, trains (full-size and model), and ReVox A77 stuff. Funny coincidence. I haven't tried a projector that has sound playback, but maybe that'll be the safest way to go if I can't get anything working via software. I like the idea of having three separate timelines, and cutting to only show the "best" for each scene. It may take longer to scan, but then you have all your source material ready to go. From my end, I try not to micro-manage the scanning; with RAW images, I have a pretty good dynamic range and the ability to recover a lot of detail from the shadows before things get too noisy. I plan to document my approach in "Part 3" of this series. At present, I do most of my image editing in Adobe Lightroom Classic as that's what I've been using for over a decade. I then export images, do filtering and an export etc., in DaVinci Resolve (free version) which is quite good. My Sony a7riii camera has bracketing and a sort of multi-pixel / multi-exposure feature, but I haven't felt the need to dig into those. With my current RAW workflow, each image is about 18 MB - so it's crucial to have fast memory cards, USB-C and a fast SSD for editing on the computer. I hope to get into this in "Part 3", or maybe a "Part 4" if I have enough material.

@scottschiller 3 года назад

Is this your project, a scanner based on a Revox A77? 😮 That's amazing! ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-aZuqSJPAQ0g.html My focus has been on getting quality scans - exposure, focus and all that, thus far. I also want to look into reducing "shake" and jittery motion in the resulting video, whether it is the film moving or the original camera person being a bit shaky. I know software can do a lot of the magic here, but I haven't really dug in yet.

@RolfSte 3 года назад

@@scottschiller No, thats no project of mine. I certainly never ever will canibalize my beloved A77. But there is work to do on their mechanics. Yes, I'm also searching a way to stabilze, despeckle, sharpen etc. without an ph degree in AI. I will produce and upload my project next.

@HenkDijkstra 2 года назад

Hallo Scott, Do you have a link for me ware i can buy the macrolens? Thans in Advance. Henk

@scottschiller 2 года назад

Depending on where you are, Amazon may be a good spot to look. If you're in the US, B&H stocks them as well. I think you can get them directly from Venus/Laowa themselves, too. www.venuslens.net/product/laowa-25mm-f-2-8-2-5-5x-ultra-macro-2/

@JeffSpeers 2 года назад

What is the fastest FPS you can achieve without error?

@scottschiller 2 года назад

In testing this set-up, I found I could run the scanner faster than 3 FPS provided I shot in crop mode, and using a fast (“300 MB/s”) SD card in the high-speed memory slot on the Sony a7riii. I may have also tried raw compression to reduce file sizes further, but I don’t remember whether that affected response time or write speed. Either way, I found that the remote shutter trigger - or something in that path - may have been the bottleneck. At some point around 3 FPS, I noted missed frames even though my circuit was firing the trigger button reliably. It’s not unreasonable that Sony may have limited the remote shutter trigger or only check that “input” three times a second, for example.

@_viy 3 года назад

That’s not your voice right?

@scottschiller 3 года назад

That *is* my voice! True story. ;)

@_viy 3 года назад

@@scottschiller I heard it somewhere already. Do you take a part job voicing other videos?)

@scottschiller 3 года назад

Huh! I haven’t done much in ages, but does this sound familiar? (5 years ago.) ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-x6sSa5NpqUI.html

@_viy 3 года назад

@@scottschiller Mmm, not really..) At first I was thinking about regular car reviews yt channel. But I guess it’s just a mic angle, presence & voice itself off course.

@scottschiller 3 года назад

Ah, gotcha. I would have been surprised if you recognized me from that one ad. Maybe I’ll check out that channel!