An 8mm film transfer tutorial to
ALARM YOU and then ARM YOU
with Dirty Little Trade Secrets™ of
Super 8, 8mm, and 16mm film transfer industry.
"BUYER BE AWARE to be a BUYER BEWARE™"
"Can you please put my home movies on DVD?"
"Super 8mm Film Transfer Mills™" are NOT interested in what you really NEED;
What gives me the
right -- and expertise --
I am a Computer
Scientist and a Digital Archivist --
HIGHLIGHTS OF OUR ACCOMPLISHMENTS
As 16mm and 8mm film transfer subcontractors and preservationist, we have indirect client
affiliation with FOX, NBC
We have produced historical films for countless cities and towns, fire departments, football teams, State and Federal government archives, hundreds of hours on Vietnam, declassified ballistic missile test on high speed film, etc. -- the list goes on, now, for about 20 years.
We have earned our right
to stand on our own merit --
We "Lead the
Industry in NEW TECHNOLOGY"... with our LATEST INVENTION
We "adapt" memory and storage
devices of all kinds (examples above) to create our "Media-Player™
Card-in-a-Flash Drive™ is our MOST popular
"Swiss Army Knife" of Media-Player™
SINCE WE HAVE "REDONE" THEIR DIRTY
LITTLE WORK --
HOW WE LEARNED THE "LITTLE SECRETS": Realizing much of the equipment adapted from the "large format" film transfer industry is ill-suited for "small format film", we literally "trashed" much of the equipment that most companies now brag about using. We were forced into creative testing -- trial and error -- invention and re-invention -- driven by integrity -- until we "got it right".
We learned the "right way, the hard way"; but we did not know "the dirty way".
HOW WE LEARNED "THE DIRTY": Until we got into 'redoing" the work of "other studios" -- for domestic clients -- we did NOT realize that there is a side of the film transfer industry -- the domestic market -- that does NOT strive for "high commercial integrity", but rather strive with "intent" that, in my opinion, "is criminal".
Bottom Line: As an "industry whistle blower",
Dirty Little Trade Secret™ #1:
of a "writable" DVD-R/+R is ONLY 2 to 5 years.
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The very integrity of CD-R, DVD-R (and, we can assume Blu-ray) technology -- which are chemically very similar -- has been challenged by media experts worldwide. Some experts -- like Kurt Gerecke, a physicist and storage expert at IBM Deutschland GmbH -- are now reporting that the life of some optical media (CD-R and DVD-R) to be only 2 to 5 years.
These statements are clearly backed by longevity tests on "dye based" platter technology -- CD-R, DVD-R and DVD+R -- conducted by the National Institute of Standards and Technology. Results showed that failure rates for dye based DVDs with silver backing (originally thought to have a long life) were far worse than anyone had realized.
The fall-out from this study is that Computer Industry and the Federal Government -- have ditched DVD-R, DVD+R, and CD-R -- and NOW Blu-ray Disc -- for "archiving" any type of digital data or digital imagery. (see reference below-right).
Do not confuse "backups" with "archives". A client of ours who is a government employee provided us with the links above; He says that some government agencies -- including the Library of Congress -- are now giving caution to their employees on the use of silver backed dye based optical technology for "archives".
Does this warning extend to Blu-ray discs?
The "assumption" by "sales people" -- That Blu-ray
"is better", in terms of longevity is odd, in my opinion, in light of the traumatic effect
of longevity studies on DVD discs -- made from very similar materials as
If we follow logic, instead of some sales pitch, we are forced to form
both the opinion and assumption -- that Blu-ray disc longevity is "like"
DVD disc longevity. For all practical purposes, a Blu-ray disc may
be "more like" a DVD -- only with a Blu-ray label -- too, much like a DVD
-- too much more --
than we would "like" to think -- or, for that matter, the disc
manufactures would "like us to think".
As a result, of "too much thinking in the market place", the disc manufacturing industry has developed an "archive gold" type technology, which claims varying longevity thresholds, with some giving themselves as high as a 200 year longevity rating -- or your money back -- with proof of purchase and proof of ID, of course;(
As of June 2011 -- before gold went through the roof in price
-- the cheapest "archive gold" type Blu-ray disc, that
could be purchased on the Internet, cost $15 plus the cost of shipping,
roughly $5 dollars -- for a total "low price of $20 each. Bulk purchase
could reduce that to as low as $15 each, after shipping. My point
is, "archive gold" is expensive -- especially when you must consider
waste from "bad-burns", "failed burns", "power outages" -- waste that is
always associated with the duplication process -- for any number of the
most "dog-gone" reasons. This factor puts "archive gold" expenses right
up there with the cost of (more forgiving) Flash Drive, SDHC card, and
hard drive prices.
Near-substitutes and Alternative Technologies and Strategies:
Given the fact that prices for hard drive technology has plummeted over the last year, you can now buy a 500Gb hard drive for roughly the same cost of buying 3 or 4 "archive gold" type Blu-ray discs -- which will store only 25Gb each.
In the ComputerWorld warning -- on the use of CD-R, DVD-R and DVD+R for "backups" -- corporate wisdom is to "back up" your "backups" every 2 years -- for data -- and every 5 years for digital images, like videos and pictures. As for "archiving", their word of wisdom was: use nothing but metal particle magnetic digital tape for an archive -- and keep at least one "archive backup" of that.
What they did not address, what the "Super 8mm Film Transfer Mills™" don't tell you, is the fact that all video data -- expressed as a "video format" -- is NOT created equal; that in fact, some video "formats" are crippled by design and "very lossy" -- like MEPEG-2, the default format of a DVD.
It is silly -- say nothing of expensive -- to use "archive gold type" technology to "archive" low quality video.
LAST BUT NOT LEAST: The Blu-ray Scam
Film transfer mills don't tell you this one for sure. The victim in this scam thinks s/he is buying a High Definition (HD) Product Blu-ray product for an HDTV -- but instead pays a premium price for a "fake" Blu-ray.
The Scam: The film transfer mill takes a DVD -- using MPEG-2 format -- and copies the MPEG-2 disk image onto to a Blu-ray Disc. This is fast and easy to do. Since Blu-ray technology is backwards compatible with DVD technology, the MPEG-2 video "plays just fine" -- when plugged into a Blu-ray player. The Blu-ray disc -- with DVD quality video -- is then sold to the victim as a "Blu-ray" disc. The finishing touch to this scam, is that the "film transfer mill" uses a cheap "gold tinted" disc -- which are manufactured as an "archive gold" "knock-off disc". In reality, this "knock-off disc" is a generic Blu-ray with a "gold tint" to the face of the disc and has the word "gold" somewhere on the packaging -- which is deceptive advertising, in my opinion. In the end, the "film transfer mill" has used a cheap to produce, inferior video format, and cheap "knock-off" media to make a huge margin of profit -- for minimal work. The victim can view their movie film images on their new HDTV, knows something is wrong, but can not put a finger on it. If they confront the "film transfer mill" they are just told the problem is they have "crummy movie film". This scam can be detected using a computer - if the victim knows what to look for.
Reducing all this information to a point -- once people know "the truth", they are reluctant to buy an expensive "archive gold" type disc to "archive" lowest grade video formats -- or even to "set themselves up" for a Blu-ray scam. Knowing "what to ask for" is second only to, knowing "who to ask".
Do you still want you movie films "archived" -- to ONLY an "off the shelf" DVD or Blu-ray?
What can do we do?
We can capture your movie film, as raw video, into a format best matched to your needs -- like Apple ProRes, DVCPRO, DVCPRO HD, Digital Video (DV). All these formats are 1) full frame for all frames, 2) higher resolution than the resolution of your original movie film, and 3) used in editing software on 64 bit, multi-core, state-of-the-art PC and Mac computers. Using one these formats, after Re-Colorization of the images, we then make Blu-ray and DVD Virtual Movie Disc ™, and then, physical discs.
What can YOU do?
Some people find they have to buy a new computer -- just to work with some of the formats above. What is more, because "family members" do NOT have computers that WILL also work with some of these video formats, some of these same formats are a "bad choice" as an "archive format" because they can NOT be passed to the next generation. I cover the pros and cons of formats -- and "best-matching" a film format to a video format.
NOTE: DV, DVCam, DVPro 25 digital video format are all basically the
NOTE: Newer Camcorders -- using SDHC cards and AVCHD
format -- can NOT satisfy these criteria --
"Super 8mm Film Transfer Mills™" do NOT want you to know about
THE CURRENT VIDEO TECHNOLOGY SHIFT
Dear Grandpa and Grandma...
Before you can know what is "out-dated",
you have to see what is "up-to-date".
Dirty Little Trade Secret™:
What "Super 8mm Film Transfer Mills™" don't want you to know...
(click below -- for the good, bad, and UGLY!)
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Transfer Mills do
NOT want you to know
A whole new
generation of people – from grade-school through college and beyond
– are now watching movies on
These "people" include YOUR KIDS, GRAND-KIDS -- AND ALL YOUR FUTURE GENERATIONS!
In your mind, anyone should be happy -- just to be able to "watch" their "home movies" on a DVD.
BUT...who would have ever thought...
"These people" want
to "SHARE" -- their home movies --
"HOME MOVIES ARE not JUST FOR HOME
Who would have
"These people" --
even their DVD / Blu-ray / "Game" players are ALSO
WIRELESS -- for the "Cloud"!
Yes, but they
are still "buying DVDs", you say!
WHICH BRINGS US TO WHAT IS "OUT-DATED".
What ALL these "devices" do NOT use -- are DVD and Blu-ray discs!
(with few exceptions -- like PS3 and PS4)
In the last 3 years, we can add MiniDV digital tape
and Digital 8 (D8) tape to the list of dying.
From a Computer Science stand point, from a "digital archivalist" standpoint, No!
and I still buy DVD and Blu-ray discs --
-- this Decade --
NOTE: We sell alot of DVD disc! However, we will NOT sell them exclusively. We protect our clients with "Media-Diversity™".
Writable DVD disc "GO BAD" -- After
only 2 years (for data) and after only 5 years for video.
Last decade's technology:
Still "only want your home movies on DVD"?
Why do "film transfer mills want you to use DVDs?
"Super 8mm Film Transfer Mills™", do NOT want you to know the
latest developments in media and technology -
Bottom Line: Asking ONLY for
a DVD -- of your home movies now – is almost like asking for a VHS
tape -- 5 years ago.
Feel like "the last person on earth -- to find out?
Last Decade Vs. This Decade
This Decade's computers -- and hand-held digital
devices -- DO NOT HAVE DVD DISC DRIVES!
They have a universal Memory Card Port -- maybe a USB-3 port -- and a "WIRELESS" (Internet) "CLOUD" connection.
JUST IN CASE YOU HAVE BEEN WATCHING YOUR VHS Player TOO
LONG -- AND HAVE NOT NOTICED...
here are a few other "technology shifts" that have or ARE taking place:
SHIFT 1: This Decade: Blu-ray DISC-Image™,
Last Decade: Blu-ray Physical-disc™
SHIFT 2: This Decade: DVD DISC-Image™
Last Decade: DVD Physical-disc™
SHIFT 3: This Decade: Hard Drive, Flash Drive, and Memory Cards
Last Decade: MiniDV and Digital8 Digital Tape
SHIFT 4: This Decade: Social-Media™ "Cloud" files -- H.264/MPEG-F "streaming video files" -- for Social Media, YouTube, etc.
Decade: Media-Player™ Drives -- "smart-drives™
-- that "do stuff" and "go places"
Last Decade: "dumb-drives" -- that just "store stuff" -- and just "sit there"
The "Future Generation of Technology" is here -- and now!
If you want to "pass-on" your home movies and family film history,
you must DIVERSIFY your home movies to play on BOTH ...
"Last decade's technology" --
that YOU USE every day and
"This decade's technology" -- that THEY USE every day -- and all THEIR tomorrows!
TO FIND OUT "WHAT THE HECK" THESE PRODUCTS ARE, OPEN THIS WINDOW...
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You can now have BOTH "Digital Media
WHAT is a "DISC-Image™"?:
A "disc image" -- as the name implies -- is" the PICTURE of a DISC".
In the software (applications) world: For years now, the software
industry has been using "virtual disks" for distribution of software.
We have all "downloaded" a software "package" or "update" and then let
the computer "install it". We have all used virtual disks -- and
did not even known it. On a Mac, you actually have to "mount the
disk image" -- like a hard drive or DVD -- and then "drag and drop" the
software application from the "virtual disk" on to your "hard drive".
Again, you only have to look at what iPod and iTunes has done to the CD market (remember Music CD discs?) to see what is NOW happening to the DVD disc. Do you feel like an "old-timer" yet?
IF A WHOLE NEW GENERATION OF PEOPLE AND TECHNOLOGY USE "VIRTUAL DISCS",
Especially IF you could still have DVD and Blu-ray for about the same price, too?
BEST KEPT SECRET: Right now, I offer ALL the products above for a price competitive with what many "Super 8mm Film Transfer Mills™" will charge you for "just a DVD". Who knew?!
Read my website,
get smart about what you -- and the new generation of your family "need"
-- and you can take advantage of our current marketing promotion --
which gives you many of the products above, free -- when purchasing our
basic product line -- which, yes, includes DVDs!
When you see the
words, "small format movie film"
you should think the words "slower speed" movie film. This is one of
the most important concepts you will get from my website that other
websites will shun.
What does "slow speed film" mean for you?
This is a "must read" summary of how "film transfer" works for "small format films". Click for more...
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movie film" means, small format movie film (i.e., Standard 8mm,
Super 8, and 16mm movie film)
"Slow speed" means
the movie film was originally shot -- and meant to be watched -- at 16
second (fps) or18fps.
WHAT THIS MEANS, to "synchronized" 18 frames per second FILM to a 30 frames per second VIDEO stream, you must duplicate and insert 2 extra frames of VIDEO for every 3 frames of FILM.
To understand "slow and small" format film,
movie films" are OPTICAL SOUND FILMS: 16mm SOUND, 35mm SOUND and
70mm SOUND above, run at 24fsp.
THERE ARE 3 METHODS USED TO TRANSFER FILM -- OF ALL SPEEDS AND GAUGES:
methods of "telecine equipment" -- something many "transfer
mills" brag about still having -- actually duplicated and inserted every
4th frame of FILM into the VIDEO STREAM. At 24fps, this method works OK,
and much of the old movie film stock seen on late-night TV used this
method. HOWEVER, there was a "judder" in the motion -- a small pause --
every 4 and 5th frame of VIDEO were the same -- which could be observed
in "fast motion scenes" as "judder".
methods of "synchronized scanning" using a 2:3 pull-down
method. This method converted 4 frames of video into 5 frames of
film by duplicating "half-frames" -- called "fields" -- by duplicating
frames 3 and 4 of FILM -- as interlaced images -- and then -- again --
duplicating the 4th frame of FILM as the 5th frame of VIDEO. Video
frames 3 and 4 were actually miss-matched interlaced frames -- which
gave the illusion of "blurred motion". This method actually works "very
good" -- ONLY with 24 fps movie film -- and is a "close second" -- as a
standard for film transfer of LARGE FORMAT, 24fps FILM.
3) Algorithmic Interpolation: The current "state-of-the-art" method, is to capture frames film -- to video -- 1 to1 or 2 to1 or 2.5 to 1 -- without concern for synchronization. Once digitized, this method employs a digital frame / field "digital interpolating algorithm" -- to "normalized the "captured VIDEO" to the original "real-time" shooting speed of the ORIGINAL MOVIE FILM. Using this method, the technologies of progressive scan and odd / even field interlace are unified -- become synergistic -- and because of redundant digital overlay -- the end result has technical characteristics BETTER -- than either PROGRESSIVE SCAN or INTERLACED video alone (more on this later).
Unlike methods #1 and #2 above, this method allows the widest range of image manipulation -- at the both the "frame and field" levels. Thus 1) "true slow-motion", 2) "true fast-motion", 3) "better incorporation of special effects", 4) "digital frame stabilization", and 5) less video generational loss -- when transcoding to a diverse number of digital products - from a common master file.
Digital Algorithmic Interpolation is a 2 step process which is superior to -- but also more expensive that -- the other 2 other methods above. Thus "transfer mills" rarely use this method. They instead "hype" last century technology -- as if this century, and a new "state-of-the-art" did not exist. Digital Algorithmic Interpolation is NEVER mentioned on most "transfer mill" sites.
Yes, we use "state-of-the-art" "Digital Algorithmic Interpolation".
WHAT'S ALL THIS GOT TO DO WITH "SLOWER", "SMALL GAUGE", "SMALL FORMAT" FILM?!
Under METHOD #1 ABOVE, you can easily see that 2/3rds of every second of video is occupied by "frozen frames". Not only does an object in motion "freeze frequently" in time and space -- but the object suddenly "jumps frequently" from where is should NOT be -- to where it "should be" -- in time and space -- creating a double distraction. Believe it or not, I have re-done many projects which have used Method #1 -- simply because some "idiot" insisted on having "true progressive scan" video. Method #2 is the ONLY WAY to get that; but "be careful what you ask for!".
Under METHOD #2 ABOVE, you can easily see
that 2/3rds of every second of video is occupied by "blurred frozen
frames". Although "distracting",
METHOD #2 is technically "better" than Method #1 -- and thus some
"transfer mills" will hype a 2:3 pull-down method over a telecine method
-- and charge extra for it. I have also redone MANY of these
projects for clients.
THE STANDARD METHOD FOR SMALL FORMAT, SLOW SPEED FILM TRANSFER:
Most "transfer mills" do "synchronized" film to
video -- at the WRONG SPEED FOR ALL FILMS!
STATE-OF-THE-ART PROFESSIONAL STUDIOS THAT MUST
WORK WITH SMALL FORMAT, SLOW SPEED FILMS
That's JUST A TASTE of "What You Don't Know", (that you don't know you don't know) that Will Hurt You!
What else? Hang on to your hat!
IMPORTANT NOTE: Blu-ray Discs
Hereafter in this website, when we say "DVD", unless otherwise stated, you may assume the same principle applies to "Blu-ray".
And here is why...
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Recently, with the technology shift to HDTV, there is a shift - industry wide -- to Blu-ray technology. Because
Blu-ray disc is made basically from the same materials as a DVD disc,
So far, no one in the Blu-ray manufacturing community can present data that this "assumption" is incorrect -- although we keep asking -- and hoping -- that evidence to the contrary will be revealed.
Meanwhile, without data to back their claims, we must "read between the lines" of what is NOT said -- namely, "longevity tests" specific to Blu-ray disks are incomplete if they do exist.
Last but not least, Blu-ray technology is being eclipsed by "streaming video" over the Internet -- or "Cloud technology". People seem willing to sacrifice "quality" for "variety" and "cheap" video content.
"Super 8mm Film Transfer Mills™" sell you a "digital copy" of your movie film on DVD. They do NOT sell you the "digital equivalent" of your movie film on DVD. Technically, that is impossible.
Film transfer mills do NOT want you to know, you need a "digital master archive" -- made directly from your original movie film. They want to sell you a DVD "copy" of your movie film. After having read Dirty Little Trade Secret™ #1, you now know why your movie film should NOT be "archived" to a DVD only - because a DVD is not an archive.
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Right now, your original movie film is your master. In fact, there is no "OTHER COPY", of any kind, of your original movie film.
What is worse, you have almost "used it up". Your original movie film is "going bye-bye" - otherwise, you would not be reading my website.
You need the digital equivalent of your movie film - in every way - to preserve what is left of your movie film, that is to say, preserve the earliest record "moving images" of your family roots - which will forever be priceless to your progeny - unless you screw up now.
FACT: Your movie film is "high resolution" - your "digital master" should be as well.
movie film is made up of "full frame pictures" - thousands of
complete pictures - so should your "digital master".
DVDs are not "high resolution".
If I told you I was "throwing away half of your movie film to film transfer to DVD", would you let me do it?
Well, that is exactly what "Super 8mm Film Transfer Mills™" are doing. Each one of the "little pictures" in your movie film is made up of hundreds of "little lines". If they throw out every other "little line" to fit your movie film to a DVD, they have thrown away half of your movie film, haven't they?
That's what MPEG2 compression does.
Still want me to film transfer your movie film to DVD? Worse yet... (click for more).
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Worse yet, just to give you the proper perspective on DVDs made by the film transfer mills, the DVDs (single layer DVDs) made on a computer are about half the resolution of DVDs (double layered DVDs) that come from the "video store", because they have a smaller capacity.
Does that mean that a DVD, made by most film transfer mills, might rival only the home-made quality of a VHS video tape? Does that mean you can forget about ever seeing the quality of your original movie film?
Yep! That's "worse yet".
Pseudo-technocrat Note: Did you ever wonder why it takes 2 DVD-Rs, made on a computer, to copy (rip or steal) 1 DVD VIDEO from the video store? (Not that YOU have ever tried to steal a DVD - but that you have just wondered about such technological things that your golf buddy mentioned to you?)
Details about MPEG2 compression and DVDs can be found in the tutorial.
DVDs and Blu-rays are NOT made up of "full frame pictures" -- like your movie film.
In a nut shell, DVDs are made up of thousands of JPEG pictures, aren't they? "Well, not exactly". The Dirty Little Trade Secret™ is that MPEG2, the video format for video DVDs, only "starts out" with one JPEG picture (of your grandmother). That's where all similarity ends.
MPEG2 compression is aggressive. To keep the video stream small, it starts throwing away parts of the image it thinks it can "rebuild" from preceding frames. MPEG2 was made to fit tremendous amounts of data into a small space, knowing it would be "played back" on older, fairly low quality televisions which would hide a "multitude of evils" by being too low resolution to really spot the artifacts of the compression.
Much has changed since HDTV took over. However, the darling media of HDTV is Blu-ray. Blu-ray uses H.264 BD format which is basically, MPEG-2 on steroids. Although the format does rival the high resolutions of your original movie film, the partial frame and highly compressed characteristics of the format make is almost worthless to edit. Therefore, the format fails as an "archive worthy" format -- as does MPEG-2, for the same reason.
Why? An "archive worthy" format is used for many things -- other than to watch on your HDTV. It is used to capture photos. It can be resized for Webcasting on YouTube, and resized for use on iPhone type devices, and many other devices. It will be transported over networks and used on both PC and Mac computers -- to further manipulate and enhance and colorize the images -- and then narrate them, with different background music. One day it will be transcoded into 3D video and, maybe, even in holographic applications. MPEG-2 and H.264 formats will not "go the distance".
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So, the first frame of your movie film - of your grandmother - is whole but compressed like a web JPEG image. Good quality if properly done.
Now, let's talk about the second, third, etc., frames (of your grandmother). All subsequent frames (of your grandmother) are only "partial frames" (of your grandmother's eye blinking and teeth and gums smiling).
This Dirty Little Trade Secret™ becomes more shady, because what they, the film transfer mills, don't tell you is ALL duplicate frames (of your grandmother) are effectively thrown away.
Not much left of your "original movie film
Why do you think they call MPEG2 compression
Details about MPEG2 compression and DVDs can be found in the tutorial.
DVDs and Blu-ray can NOT be copied to other "digital formats' without "digital artifacts".
Film transfer mills let you think that because DVD and Blu-ray are "digital" they can be transferred to other digital formats without loss.
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In the previous Dirty Little Trade Secret™, you learned that DVD MPEG2 format throws out "every other 'little line'" of EVERY picture of your original movie film (of your grandmother); and DVD MPEG2 format throws out EVERY duplicate frame (of your grandmother); and DVD MPEG2 throws out every thing but the essentials of all partial frames (of your grandmother).
Film transfer mills would like you to believe that a video CODEC (Coder/Decoder) will magically re-create everything -- that was thrown away -- into something that rivals your original movie film? Dream on!
If you try to convert, "up-scale" (not just copy) your DVD to a Blu-ray, what will actually happen is the video CODEC will manufacture 'filler" for EVERYTHING that is "miss-matched" or 'missing" in the HD format. This "filler" is called a "digital artifact" -- and is NOT in the original film.
If you ever sat too close to the screen at the movie theater, then you "get the picture" -- that is to say, you do NOT get any more picture -- just blur.
If you have ever tried to enlarge a newspaper picture on a copy machine, then you "get the picture" -- or NOT!
If you have ever tried to digitally enlarge a still photograph -- beyond the size of its actual pixels -- then you "get the picture" -- little square digital blocks, all over "every thing".
If you have ever tired to "zoom in" into a picture on your computer "too much", then you "get the picture" - the same kind of picture you will get from trying to "enlarge", "zoom", or otherwise "convert" a DVD MPEG2 into a "high resolution" digital video format.
Still want your 8mm and Super 8 movie film transferred directly to DVDs?
"You can edit MPEG2" (DVDs) - but, "not exactly".
There are many software packages out there that let you edit MPEG2 compressed video. Each will warn you about the consequences of "cutting" the video stream anywhere but on a key frame. When it comes to getting the highest possible quality out of your editing efforts, you can edit MPEG... but why would you want to -- if you had the option to work with a video format that was the near equivalent of the original movie film -- frame for frame.
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You can "edit" using the MPEG2 format. There are a few little problems however...
In summary, edited MPEG2 files (DVDs) have
introduced both old analogue 'generation loss" and a new kind of digital
"generation loss" into video (of your grandmother);
You say you want to edit Blu-ray H.264 BD. Forget it. It is like trying to edit MPEG2 -- on steroids. Some editor software -- like Final Cut Pro -- will not even load the format.
You need a "full frame", "high resolution" digital master -- and a backup.
Let me say it another way: You need a "full frame", "high resolution" digital master that:
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Your movie film is high resolution now. There's no reason to step back from that and accept a lower resolution digital "copy".
The purpose of a digital film transfer is to preserve those images and to expand your ability to view and make use of them. Any film transfer worth your money will:
Most Telecine Methods are VHS quality; NOT High Resolution
The telecine film transfer method used to perform your small gauge - 8mm, Super 8, and 16mm - movie film transfer may sound great at first blush. Most "retrofitted" or "upgraded" telecine "scanners" still incorporate -- "composite video" somewhere in the "bowels" of their technology. No matter what kind of "adapter" you slap on a "composite video signal" you still get ONLY VHS quality. Which brings us to the next...
"Dirty Little Trade Secret™": Most telecine methods were developed before the digital age and target problems inherent to older "analogue (composite) video". Much advertising today promotes technology of the past. The Dirty Little Trade Secret™ is, if you use old technology for a movie film to video film transfer, you will in fact get "the same old quality" of old technology.
If you use their older technology, then you get inferior quality for the same price you might otherwise pay for a superior quality. I know, I am in the business. I have literally put very expensive, "old equipment" -- in the dumpster - knowing it had potential for great "sales hype" but absolutely no "high resolution merit".
We use aerial scanner methods, when they are well matched to the
movie film; but we reserve the right to switch to other methods that
have advantages over scanning methods.
For example, movie film -- with deep scratches -- scanned at the film-plane of the actual emulsion on the film -- transfer with the image having bright white streaks (more on this later). We have a alternate capture method that will capture that same movie film with the scratches turning to neutral grey. This is "value added" by "experience" -- that a machine, by itself, can not be expected to identify, much less correct. Most studios "good enough" to even know about this method, reserve it for their high-end "professional clients" -- never giving "domestic clients" the consideration of its use.
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For example, a small gauge, home movie film transfer using a "telecine projector" - a movie projector with a built-in camera - uses old analogue, composite video signals. We, the public and the video industry, now regard "composite video" as a "low grade". There never was a small format movie film "telecine projector" made, that had anything but "composite video out" (VHS quality). Yet the internet is filled with "Super 8mm Film Transfer Mills™", that "hype or hide" their use of these old telecine projectors -- calling them digital scanners -- because they plug the composite out RCA jack into a capture card, which digitizes the garbage coming out of the backside of their "scanner". Many of the "retro-fitted" telecine "scanners" may use modern technology, BUT they capture the image "thru" an "etched glass" or "plastic film" -- thus reducing the "upgrade", again, to VHS quality.
What film transfer mills "hide" is the Dirty Little Trade Secret™ that any resulting movie film to DVD or Hard Drive film transfer -- from an old, small gauge telecine projector -- would be the near-equivalent quality of an old VHS tape. Yet that's what they use to make their single-layer DVDs. It does not matter that they dup that same video signal onto a high resolution MiniDV tape after the fact -- or during the fact (as a synchronous product). Their video quality is still only VHS quality - which is to say, only single Layer DVD-R quality; Ok, not exactly, but close enough. "Garbage in; garbage out." Adding insult to injury, if a film transfer mill "dupes" (duplicates) a VHS or DVD quality video onto a MiniDV, then they "dupe" you as well - making you think, in error, that you have a "digital master". They call it, "a MiniDV copy" and usually offer it as an "add-on". This is akin to the "Blu-ray Scam" -- copying a DVD to a Blu-ray disc -- and charging HD prices for it -- with you assuming it is in H.264 HD format.
When you want to film transfer 8mm movie film to DVD, the Dirty Little Trade Secrets™ you don't know, really do hurt you -- and all generations of your family, and your movie film.
The term "telecine film transfer" (not to be confused with "telecine projector") is a good, legitimate movie film to video transfer term, which simply means, the frame rate of your 8mm movie film, super 8 movie film, or 16mm movie film is synchronized with NTSC video frame rates of your TV set -- without a flicker.
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Film transfer mills want you to think that you can NOT get a "telecine film transfer" without using THEIR "telecine projector" or "scanner".
The truth is, there are many ways to get a "telecine film transfer" without using their equipment.
Projectors "scan" AND "synchronize" the digital signal into a
"broadcast" signal -- at the same time. Whether they "project" onto a
"screen" or project onto a "camera" pixel array -- they "project"
light THROUGH film -- to produce an image.
Telecine projectors usually "synchronize" use a some version of a
mechanical "pull-down" method -- inserting extra frames in to the
broadcast stream -- that are NOT in the "original film". In small format
film, this is a "big mistake" -- due to the "judder" into the "motion"
of the "movie".
True "scanners" BOUNCE light off-of an object and capture the
Equipment that is called a "Scanners" -- but use a "pull-down"
method -- are actually Telecine Projectors. Since the big
"buzz" word is "scanner" -- every one wants to claim to have one.
When I see what is being sold as "a scanner", I usually see a
"telecine projector". We own both "scanners and telecine
projectors" ( loosely defined) and their use is determined by
The latest "state of the art" breakthroughs in "film transfer"
have NOTHING to do with the "capture" process; but have to do with
integrating the moving images into a "video broadcast" stream. The
effective shifts most "mechanical methods" back into last century, where
Confused? You should be. You have not read my tutorial yet. Read on!
Concerned? You really should be. If you make a decision right now, without reading my tutorial, then your odds of making the wrong decision are very good. At this moment, you would be taking a "wild shot in the dark" - with a lot of money - say nothing of risking the future longevity and integrity of your home movies.
Dirty Little Trade Secret™:
A "film transfer" done at "ULTRA-HIGH, MICROSCOPIC SCAN DENSITY"
- LIKE K2 OR K4 --
will DEFINITELY need "smoothing filters". Smoothing filters are, however, being "marketed" as "scratch removal services".
This is a nice "add-on" business for "transfer mills"; but reasonable people figure out that the "transfer mills" are
1) selling an "operation" the patient does not need, THEN
2) selling additional "solutions" -- to problems THEY, the "transfer mills" -- create!
Here is the scam...and people "ASK FOR IT"...
ASSUMING that higher density video formats work the same with
"live objects" as they do with "film".
I wish I could say, using "hyper-format" "microscopic" cameras -- to capture tiny 8mm film -- "gives you a better resolution", however -- after personally investment of a lot of time and a lot of money in "high density" technology -- as a Computer Scientist, I find the opposite to be true -- for the following reasons:
Before there were "pixels", images were made up of tiny little "grains" of silver halide in the emulsion of movie film (see below). Light passed between the grains -- literally "shapes and forms" the details in an image.
Here is the "catch"! ONLY the "edges" of "each grain" and "grain cluster" contribute to "image detail".
The remaining "surface area" of each grain -- or "surface area" of "clumps of grains" -- just "block the light" (see "black areas" in Figure 1 below). NON-DESCRIPT black contributes NO DETAIL DEFINITION to the image.
The same is true of the "open spaces" -- between grains and clumps of grains". .While contributing NON-DESCRIPT light and color information, "the wide-open-spaces" between grains -- DO NOT contribute "detail" to the "shape and form" of the image. (see "white areas" in Figure 1 below)
The "con" or "scam" is "the claim" or "your assumption" that a "microscopic" scan of your film will give MORE IMAGE DETAIL from the "black space" and the " white space" below.
The TRUTH is, "ultra-high resolution scans" INTRODUCE artifacts FROM the "detail from the grain itself" NOT "detail from pictures of Grandma". Hyper saturating the "original image" with all this "superfluous" data (called artifacts) is completely obvious to the human eye as "grainer grain" (see Figure 2 below).
Of course this brings out every "natural flaw" in
you film. As a result, "transfer mills" usually "package" a "smoothing
filter" with "ultra-high resolution transfers" to "cover up" their
folly. Of course, they call it a "scratch removal service" and
have nice "before and after" photo "mock-ups" HOWEVER, you are advised
that "YOUR results may vary...". (see Figure 3 below).
THE TRUTH is, "smoothing "bad data" (black and white areas) into "good data" (the edges ONLY)
actually DEGRADES ORIGINAL IMAGE DATA (of grandma) -- like "touching up a photo".
This prompts historically significant questions like, "Is that Grandpa?" "What happened to Grandpa's infamous wart and wrinkles?"
Of course, Grandma would love the "make-over"!
THE TRUTH is, once you can see the "grain patterns" or 'grain shimmer" in your images -- just like when you want "movies at the cinema" or "at home" -- you are seeing ALL the "image information" that you "small format film" has to offer.
Take moment to digest the illustrations below.
FIGURE 1 (ABOVE) Microscopic example of Grains of Silver Halide in a Film Image
A "Video Format" should "Best-Match" the ORIGINAL "Film Format" -- in pixel / grain densities.
A "miss-match" results in "under-kill" or "over-kill" of the original image.
FIGURE 2 (BELOW - LEFT)
FIGURE 3 (BELOW - RIGHT)
Hyper-Microscopic VIDEO of GRAINS of Silver Halide in Film Image
An illustration of what happens in "over-kill".
Final Insult to Injury: Ultra-high resolution scans are "way far" beyond the display capability of anything you will ever own. All those millions of data points have to be "summarized" back to each cluster of RGB pixels, surronded by black -- that make up your "digital display". What is more, many displays convert all those data points to (sit down for this) ANALOGUE.
We can provide (sell you) larger, higher density film transfer video formats, however, be advised that "hyper-formatting" -- distorting a small format FILM into a large format VIDEO -- introduces artifacts into the images of your original film -- because
1) The "two dimensional" surface area" of
each grain of silver halide (FIGURE 1 -- BLACK AREAS) is "non-image data".
In film, this is called "grain"; In digital video, this is called a "digital artifact" or "digital noise"; and,
2) The space BETWEEN GRAINS of silver halide (FIGURE 1 -- WHITE AREAS) are also "non-image data" called light or color -- which has NO IMAGE-DETAIL -- other than "black&white" and "color" values; and,
3) ONLY the circumference (i.e. the edge) of each
grain of silver halide (FIGURE 1 -- IMAGE-DETAIL DATA) contributes "true image detail" or "true image
data" to the final image.
In simple "Expansion Theory", as an object or image expands, the area (non-image data -- Points 1 and 2 above) expands at a greater rate
than does the expansion rate of the circumference (true image data -- Point 3 above) of the object or image.
Thus in ANY analysis of "expansion" -- say analysis of expanding a tiny 8mm format to any large screen HDTV format -- there are "diminishing returns"
where the "non-image data" over-whelms "true image data" -- called a "washout" and "fuzzy" image.
To "off-set" this "diminishing return", "Hyper-formatting" with high-density cameras (basically with microscopic accuracy) attempts to "fill" the "washout" and the "fuzz" with "grainer grain" patters. This would be a great idea, except for the fact, the "pits and irregularities" of the grain ITSELF has absolutely NOTHING to do the original "image-details of the picture".
All this means, "gainer grain" and "more artifacts" do not make a
"BETTER" picture (FIGURE 2 -- HYPER-FORMATTED GRAIN).
Transfers of tiny 8mm film with microscopic precision of 2K 4K -- which are "microscopic' -- do NOT make a better picture.
Because of the "grain in the grains" -- which are now "artifacts" in the image -- now PART OF THE IMAGE --
Ultra high, microscopic resolution "film transfers" REQUIRE "smoothing filters".
These "smoothing filters" blend this flood of "artifact data" into (thinly stretched) "true image data".
(FIGURE 3 -- HYPER-FORMATTED GRAINS AFTER SMOOTHING)
This gives the overall image a "flat look" -- when compared to native film "grain shimmer" --
seen when viewing film "LIVE" or viewing a "good transfer".
Transfer mills actually "mask" their "artifact distortion-correction" as a "premium scratch removal" service" --
because (along with true-image details) details in scratches are (also) subdued.
LAST BUT NOT LEAST: Movie film was designed to be "projected" NOT SCANNED. The "image harshness" found at the granular level was subject to the "Reciprocity of Light" where light "diffuses" (mathematically) by the square root of the distance that light has traveled. This is what gives film its "desirable" "soft" (not "flat') look.
"Hyper-formatting" is "easy to hide" because "transfer mills" also often use irregular "pull-down" scanning methods
which introduce "motion judder" -- which is so distracting -- that a "flat image" is hardly noticed. That is because it is the "lesser of the two evils".
The best 8mm transfer is possible ONLY when the video format is "best-matched" to the movie film format.
SO, TO SELL "ULTRA-HIGH SCAN DENSITY" SCANS on "small format" 8mm and Super 8 film...
"film transfer mills" just plain lie about the capabilities of "Hyper-Formatting" small format film.
FOR EXAMPLE: "16mm, 8mm film transfer mills" are NOW claiming that "discolored" footage can be magically "color balanced" and "color enhance" simply by increasing "digital scan density". In other words, if your film has a "magenta cast" (purple-pink or Red-Blue cast) -- an "ulta-high density" digital scan, will magically transfer the resulting image into a perfectly balanced picture!
As a Computer Scientist, this claim is perhaps that "most stupid", 'irrational" digital claim I have ever witness from the "transfer mills".
First rule of computing: "Garbage in; Garbage
out". If you put in "magenta cast" data; you will get
out "magenta cast" data.
Ultra-high densities of "magenta data" do not magically translate "bits and bytes" of "magenta data" into digital "white light".
To do that -- requires "an idiot" or "a liar" -- with a "good graphic artist" -- to pull-off a convincing "BEFORE AND AFTER" example.
Any color artist knows that a simple shift on a RGB (Red Green Blue) Color Wheel, away from (Red-Blue) is enough to shift the entire "tint range" of an image 1) from "magenta" to 2) "neutral bias".
We have access to many capture processes, of
different densities. In no case has "magenta discolored" film -
as seen in their "examples" -- "color corrected" itself --
solely on the merit of "scan density".
Such claims REQUIRE "doctored photos" usually contain the verbiage, in small print, "your results may vary".
Clients send us film with "profound color shift" -- MOST OF THE TIME; and
we can "color correct" such film with "GREAT RESULTS" -- most of the time; however,
we do NOT "sell" (or deceive) the client into purchasing a more expensive "scanning process" --
making them BELIEVE that "IT" -- not a "push on a color wheel" -- is what makes the BIG DIFFERENCE!
Dirty Little Trade Secret™ #11:
Dirty Little Trade Secret™:
While on the topic of "doctored photos", some "transfer mills" claim
profound "scratch removal" techniques.
They show a "BEFORE" photo with deep, dark" scratches from "projector burn" in on photo
and an "AFTER" photo with a perfect photo -- not one scratch.
The only problem with this "scam" is that the "scanners" they claim to use -- "capture from the film plane".
That "means" that ALL "deep scratches" will scan as "raw, bright light" scratches -- not "deep, dark" scratches!
Just a "small technicality" -- over-looked by their "marketing department" and "graphic artist"..
My point is, a company may have "scratch removal" services, but their "service" and their "illustrations and examples" of their "service" VARY.
As such, "YOUR RESULTS MAY VARY", too...
Other "transfer mills" create "like" EXAMPLES
by using "film aging filters" -- which CREATE the special
effect of "dark scratches" -- on "new film". They can
even show you a "mask" of the "scratch pattern"
independent of the photo itself. This is impressive, until you
realize that the "mask" is actually "the filter" selected
-- from many "scratch masks" -- to make
the "new film look old". By simply showing you the "BEFORE" picture
(of new film) LAST, and the "AFTER" picture (of the
superimposed scratches) FIRST, they can "mock-up" a nice "example"
of "scratch removal. The only problem is that the "scanners"
they TOO -- transfer film "from the film plane" -- also resulting in "raw,
bright light" scratches, TOO!
OF COURSE, YOUR "scratch removal" RESULTS MAY VARY -- TOO!
Especially, if all they really do, is use a "wet-gate"! A wet-gate system works by transferring the film "wet" -- or actually "damp". The "wetting solution" works by "filling" the scratches and "diffusing" or "blending" the scratch into the image -- on EITHER SIDE OF THE SCRATCH. The "smaller and shallower" the scratch, the better a "wet gate" works. HOWEVER, there are situations -- with antique footage -- where a wet-gate can damage film or diffuse the image at large. Also, wet-gate "wetting solutions" -- which "lubricate, wet, and extend film life" -- tend to be "EXTREMELY TOXIC" -- to the PRODUCER, CLIENT, and ENVIRONMENT.
HOPE ON THE HORIZON: The phantom "8mm scratch removal" technology is not "total fiction".
"Infrared Cleaning" is a successful technology on "slide film" but has not yet found its way into the 8mm movie film world. Reportedly, it does not work well with many "antique" film stocks. Reportedly, scratches have to be on the 'correct side" of the film to work, which implies that scratches on the "wrong-sided" are interpreted as part of the image.
"Inpainting" is a "post-product" process -- in the experimental phase for video. This process could would need to be implemented AFTER "frame capture" and BEFORE "synchronization" -- and "when" available would be "very expensive". It could be "cost effective" for short clips.
Scratch Removal is a "post-production"
process (after the film transfer) -- offered by many "post-production" studios.
Theoretically, YOU CAN DO THIS, TOO. There
are a variety of filters that can "reduce" scratch patterns, but the
process is labor intensive and expensive.
Most clients feel "scratch removal" ALSO REMOVES a "historical mystic" from "old films" -- which was "part of the experience" of watching "old home movies".
Even our "commercial clients" prefer the "old look" -- and will pay "good money" to put "bad scratches" -- or the "special effect" of "bad scratches" -- superimposed on "perfectly good" film captures.
Finally, a "film transfer" done well, with "wet-gate", and matching the format of the film to the format of the video format "may not" need "scratch removal service" -- in the eyes of the beholder.
A "film transfer" done at "ULTRA-HIGH SCAN DENSITY" will definitely need scratch removal services.
Until "scratch removal" becomes 1) a cost-effective "reality" -- we prefer to save clients both the "expense" and "false hope" --
of what the "transfer mills" now seem to promise.
We would rather "ban" the words, "YOUR RESULTS MAY VARY" -- from this website!
And yes, we use a "wet gate" system...when it is appropriate --
and yes, we know when NOT to use it -- when it will damage your film!
It is "cheaper" and "safer"
to sent "master clips" to "post-production" studios -- to see what they
can "really do";
especially if the graphic arts department -- of companies to whom they send "clips" --
are using "dark scratches" on their "scanner mock-up" of "sample and examples".
|Example of our video and music.|
Click on the QuickTime button to download a free copy of QuickTime Player -- for Mac or PC. It is an nice tool to add your computer for viewing video.
OUR BUSINESS MODEL-- VERY IMPORTANT:
Dirty Little Trade Secrets are NOT revealed by only a technology or technique used, but also by the "business model" that a company uses. We can only disclose our business model as a "leader in the industry", and let you contrast our "business model" within the context of Dirty Little Trade Secrets you are about to read about.
"WE ARE A REFLECTION OF OUR CLIENTS"
Just as you seek the highest level of service, we seek the highest level of client.
We believe that clients and companies -- of the same level of integrity -- seek each other out.
With a “Thankful” heart, the following is our integrity level:
Find out: Why
we never needed to do "test reels".
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We have already "proven ourselves" (see above) with some of the oldest and the most valuable, “legendary” films in the world -- produced for national broadcasters and private investors. Because we have achieved this level of success and quality, demand for our services is usually sold 3 to 5 months in advance -- from clients who feel our quality is worth waiting for. And, we have been sold in advance for over 10 years, now.
We produce a "branded product" that both I and our staff are proud to "put our names on". My name on a product, over the years, has become a Trademark of Quality. We do not perform third-party domestic film transfers -- knowingly; however, other studios sometimes pretend to be a client, pay "retail prices", then stripping off our graphics and replacing them with their studio name -- and resell our work as their own. I guess this is a compliment -- of sorts.
Clients have actually used our service to "get their money back" from other studios -- who (used to) offer a money back guarantee IF AND ONLY IF another studio could redo the same film "better". Having basically "paid for their project twice", whether of not they ever got their "money back"-- none of these "redo clients" ever asked us for their money back, and, to date, are among some of our most gracious clients. Through this "redo" process, over the years, we have become familiar with the work of many major film transfer companies that surprised -- and disappointed -- even us. Thus the need for Dirty Little Trade Secrets™. Since we have "redone" their dirty little work -- we know their dirty little secrets!
As for our own work, we must decline many requests for quotes once we have reached 5 to 6 month mark in advanced sales. Due to demand, we simply do not have a need to do "test reels" for domestic clients; and due to our reputation, our new commercial clients do not ask for 'test reels".
Ironically, the integrity of our "business model" is in fact -- "like" a continuous stream of "test reels" -- backed with a money back guarantee!
Our business model – has always
protected our clients by
Despite our longer delivery times (because of our multi-pass methods) and our higher prices (compared to the "same-day film transfer mills"), the most ardent critic must conclude the quality of our work is reflected in our clients’ pleasure. After waiting for our work, after approving each stage of our work, and then, after paying for our work -- in stages -- no client has ever request their “money back” -- something we have always put in writing.
These criteria are sufficient to attract "the level" of clients – in both quality and quantity -- that I enjoy “working with”.
At this time, we are accepting new clients and their projects. We invite you to entertain the idea of adding your project to our list of accomplishments and clients -- by requesting a price quote for your project. We also invite you to read our unsolicited testimonials. Most people take several days to read this site. Getting your request for a price "out of the way" now, you may have a quote by the time you finish "absorbing" what is being said, and you can be ready for your quote -- with "informed questions" for me -- knowing the price of your project.
Upon your request for a price quote, I will be sending you a quote assuming in good faith that, as our client, you are a good match for the level of our accomplishments. We hope, we may have “the pleasure” of serving you – to an end – we are confident – will be your pleasure, too.
We are not just a “movie film transfer” studio. "Film transfer" is only a minor step in our multi-step service.
We are multi-disciplined specialists in
1) Small Format Antique
Movie Film Repair, and
2) Digital Film Transfer of Antique and Damaged Movie Films, and
3) Post-Production Digital Restoration and
4) Post-Production Digital Enhancement and Re-colorization, and
5) Digital Format Transcoding, and
6) Physical Media and Virtual Packaging, and
7) Mass Media Distribution & Webcasting.
Perfection in first stage is amplified by perfection in successive stages – making our final product “better than the original”. Over-riding a “state-of-the-art” machine with “knowledge-of-the-art”, is known as “value-added judgment”. This “value-added judgment” is what a jet pilot brings to a state-of-the-art jet -- that can literally fly itself – until it is disabled by a flock of geese and forced to land in a river.
Answers about equipment and techniques we
that put us in a "different League".
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We prep your movie film, then capture it digitally, then enhance the images, and then re-color the images in your movie film – in a work flow from one technology to another – getting to know your movie film -- “what it is” -- but also knowing -- “what it can be”.
We actually have "meetings" about your film - passing on information and production notes about the previous stage -- so that the next stage will be "the best it can be".
This “value-added” – or added value – added stage by stage -- to the exceptions and problems in your very old and very worn original images, is the reason I can guarantee your final product will be BETTER THAN YOUR ORIGINAL MOVIE FILM – better than what ANY "competitor's" single-pass machine – run by someone living -- to punch-out for a break, lunch, and the end of a boring day.
Baseball as an Analogy for Quality:
Regarding equipment, in a "Major League" Service, we offer "Client-Film Centered Services" -- where WE make the call on what is best for the client's film -- ONLY AFTER we see the film.. Our clients are only interested in "home runs" -- WITH THEIR FILM -- not "the bats we use" to hit the ball. Reading the film -- the film itself -- dictates what machine or process should be used.
Little League "armchair" clients -- read equipment reviews -- of "Little League" film transfer "mills", to determine the "best equipment" for their film -- when in fact, they can not even determine what gauge their film is, if their film has "vinegar syndrome" or not, if it is even "SOUND FILM" or not.
They have no clue as to what shrinkage their family films have after 50 years, much less 70 years, nor the degree of "projector burn" the surface of the film may have developed. They have no clue as to whether the splices in their film are "tape" or "press tape" or "glue" or "hot glue" or "abutted" or "overlapped" -- say nothing of having a clue as to "how tired" the splices in their film are. These clients are NOT in our league.
"Little League" services are "Equipment Centered Services". One size fits all -- in one pass -- on their "magic machine". They sell "levels of "consumption" -- with "de-grades" or "up-graded" -- in "favors" or "colors" -- assuming "all film is the same". They believe1927 film has the same needs as 1972 film. No matter what is actually "best" for the film. We redo "little league" -- "equipment centered" work -- all the time.
SINCE WE "REDO" THEIR DIRTY LITTLE WORK -- WE KNOW THEIR DIRTY LITTLE SECRETS!
For example, any company bragging their equipment offers "pull-down patterns" are actually warning the public that they have adapted a piece of equipment from the "large format" movie film industry -- which (they do not tell you) will introduce "judder" (irregular extra frames) into a "synchronized" "scanned" image. We trashed that technology -- long ago -- when we realized, both in theory and practice, "NO PULL-DOWN PATTERN" IS APPROPRIATE FOR ANY SMALL FORMAT FILM -- originally shot slower than 24fps. More later.
MAJOR LEAGUE WORK: We have "the technology" -- to capture "the grain" ON "the grain" in film -- and it works great on new, or "like new" film; however, many "scanning methods" also give you "raw light" though the scratches in old film. (Do you have scratches in your film?) With "OLD FILM" we must adapt -- or even switch scanning -- methods -- to alter the "raw white light" into "neutral grey light". That is just one "little" difference in our service. We do not hold ourselves, or client interests -- their film -- captive to a sales pitch -- or a piece of equipment. We are NOT in that "League" of service. Our League is "Client-Film Centered Service".
Most companies, who would elevate their image by calling themselves, “our competitors”, simply are not in our "League". Ours is the league of “hard work”, “long hours”, and “commitment” to exceed "our own personal best".
In our League, the argument for quality, "my bat is bigger and thus better than your bat", is the argument of "little league".
That “we lead” and “they follow”, is our quiet pride at the end of a day’s work.
THIS IS OUR "SALES PITCH" -- TO ATTRACT THE LEVEL OF CLIENT WE SEEK:
As part of our list of accomplishments, we are equally proud to have preserved images - of the American Family. Yes, we have done “private work” for families whose names are internationally recognized; but we treat our domestic clients' home movie film as no less valuable than any of the above.
In truth, your films are an important part of a much larger story of "the extraordinary" -- the ordinary men and women and children -- of this, our, great nation of families -- who have repeatedly risen to the challenge -- to become the unsung heroes -- of every war and peace and economic tribulation and natural disaster:
AND YOUR FILMS are PART of the uncensored record of what really happened during the Golden Age of America; and YOUR PART -- your "life and times" -- deserve PRESERVATION for YOUR future generations to likewise say, "This is PART of who I am!"
Because of "our" guarantee, our “added value” (see below) and the way we do business, we routinely have pre-sales roughly 3 to 5 months in advance -- from clients who feel our quality is worth waiting for. Proof of their satisfaction is their many letters of thanks; repeat business, referrals -- and, the one letter we have NOT received -- for all my years in business – a letter asking for a refund.
This honor, given to us from clients past, is the foundation of our commitment to you and your movie films. This honor – something freely given to us -- something money can not buy -- is the only requirement for true "competitors" to be “in our league” -- and thereby welcomed. This honor is "our" true honor -- to serve you, too.
If your heart can swell with pride, knowing you are in the company of so many of our clients like yourself, then we invite you to join our League of Clients.
Highlights and Updates
(Just in case you missed these points...)
1) Film transfer "mills" would simply rather you not know the longevity of a writable DVD (DVD-R and DVD+R) is only 2 to 5 years. In Dirty Little Trade Secret™#1 (above) , I show the research which proves this later. Blu-ray can be argued to be "like" DVD in sharing this chemical longevity property. DVD and Blu-ray discs are NOT an "archive worthy" media, based on longevity studies. Most people have their 8mm movie film, Super 8 Movie Film, and 16mm movie film transferred ONLY to DVD -- and many of these people, sadly, purchase only 1 DVD set -- wrongly assuming it will last "forever".
2) Film transfer "mills" would rather you not know that, in a "direct" movie film to DVD film transfer, MPEG2 -- the format of all DVDs -- actually throws away up to half the data (resolution) of each and every frame of your original movie film -- in order to "compress"-- or "crush" -- the visual data to fit onto a DVD. Speaking of DVD compression...
Film transfer "mills" would rather you not know that a direct movie film to DVD film transfer 1) throws away up to 20% of "whole frames" and 2) substitutes 80% "partial frames" for most of the "full frames" your original 8mm, Super 8, and 16mm movie film. MPEG2 is NOT an "archive worthy" format.
Most people would turn violent if anyone took their 8mm movie film, Super 8 Movie Film, and 16mm movie film and started "stripping it down" and cutting frames; but digitally, that is exactly what a "direct" movie film transfer to DVD does digitally -- leaving what is left to start "dropping out" of the physical DVD after roughly 5 years.
Film Transfer "mills" would rather you not know that both DVD disc and the video format of DVDs (MPEG2) are NOT "archive worthy". So why are YOU wanting to "archive" images from your 8mm, Super 8 movie film, and 16mm movie film to DVD? Did not know that you were "asking for it"? Well you are-- when you demand (with your money) a "film to DVD" transfer -- and NOTHING ELSE! And "your demands" get worse! Much worse!
3) The concept of Digital-Film™ and a Master Archive™ file structures is not even theoretically possible with a DVD or Blu-ray disc.
Digital-Film™ Master Archive™ files -- is our digital video product that is -- frame-for-frame -- the digital equivalent of "every frame" of your 8mm, Super 8, and 16mm movie film. This product is something transfer "mills" don't want to talk about -- because they can not create products that come close to the equivalent of your original movie film. More on this MOST IMPORTANT of all archive concepts later.
4) Film transfer "mills" would rather you not know "the Dirty Little Trade Secret™" that highly compressed MPEG-2 files can be copied from a DVD onto a Blu-ray disc, in a scam to sell you a "fake" HD product. Because the Blu-ray standard is "backwards compatible" with the DVD standards, your Blu-ray player will play it -- thinking it is a "strange" DVD, I will tell you how to catch this scam -- easily.
5) As for HD, for HDTV, movie film transfer "mills" would rather you not know that a direct movie film transfer to AVCHD video format (a play-only format) -- is now a standard procedure for HD film transfers. AVCHD severely limits and cripples video editing, which results in profound generation loss -- "crushing the video" -- when rendering edited sections. Other "Super 8mm Film Transfer Mills™" transcode AVCHD into "any format you want" -- like ProRes -- which just enhances artifacts.
Film transfer "mills" would rather you did not know that AVCHD format video, is a "play only" format, is also a "very lossy" format -- which is miss-matched to the capture of - your original "small format" Standard 8mm, Super 8, and 16mm movie film.
6) Film transfer "mills" would rather you not know that they "push" amber (colored) tinted discs -- deceptively as "archive gold" type DVDs and Blu-rays -- the most expensive media in the world. Then, they load them with the worst, degraded, least usable, and most highly compressed video formats -- money can buy. Time then reveals these "amber tinted" - with the word "gold" somewhere in their name -- are no better than generic discs.
To arm yourself with pertinent knowledge, please read through the tutorial.
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Trademark and Tradename Notice 2009: Film to DVD Buyers Guide™, Film-to-DVD Buyers Guide™, Dirty Little Trade Secret™, Dirty Little Trade Secrets™, Trick Of The Trade Secret™, Home Movie Disc™, Home Movies Disc™, Virtual Home Movie Disc™, Virtual Home Movies Disc™, VIRTUAL-Blu-ray™ Disc, VIRTUAL-DVD™ Disc, VIRTUAL-DISC™, Home Movie Card™, Home Movies Card™, Digital-Movie-Film™, Digital-Film™ Master-File™, Digital-Film™ Master Archive™ Files, Strategic Digtal-Film Archiving™, Video Format Diversity™, Virtual Disc Diversity™, and Digital Media Diversity™ -- are trademarks and tradenames of Bruce Mayfield.