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Telecine Film Transfer (A process; Not a machine)
A "telecine transfer" is a "process" -- not a machine -- for transferring "film frames" to "video frames".
In a professional studio, like ours, a "film-to-video transfer" is a separate process from other post-production processes. The "film transfer machine" is rather simple -- to reproduce authentic images from the movie film.
Post-production processes include
For Example: Our Color Artists can determine "color temperature" of a video clip by determining the "time of day" -- based on the "length of shadows".
NO TELECINE MACHINE CAN DO THAT!
These "Tricks of the Trade" -- separate a
Film Virtualization™ or Virtual-Film Transfer™
"Film Virtualization™" is the "newest evolution" beyond a "Telecine Film Transfer" (above).
Film Virtualization™" is a process where images are "freed from" (not "captured to") any one medium.
The life of the Virtual Video™ image is no longer tied to the life of the physical medium. This is giant step beyond a "video capture" or a "video file".
True Virtualization of a video file (i.e., Virtual Video™ file) means the video file itself is layered inside a "digital container" -- like a virtual disc -- which insolates the video images from the decline of physical media, physical playback devices, or proprietary software -- tied to physical hardware or computer.
We take Virtualization a step further. We layer your entire "video library" in a transparent "virtual drive" -- again another "first" in the Video Preservation Industry. This makes the entire drive -- portable -- to any other storage device or storage medium -- now -- or in the future.
Virtual video is as much "concept" as it is "technology". The concept of "Virtual Diversity"™ (more below) spans many video formats and "digital video containers". It is "independent" of media structure and proprietary CODECs. It's sole purpose is to replicate -- over many mediums and -- survive -- many decades.
A "Virtual Film™ Transfer" -- we call it HomeFlix™ (our domestic brand name) and VirtualFlix™ (our commercial brand name) -- does for "home movies", what Netflix, Apple TV is doing for the "commercial video movies".
VIRTUAL VIDEO™ IS MUCH MORE THAN JUST A VIDEO FILE ON A HARD DRIVE.
Video from a Virtual Film™ Transfer is "universally compatible" -- which means the Virtual Video™ library -- a carefully selected mix of Diversified Virtual Video™ formats (i.e. referred to as Virtual Diversity™) -- works with many media and many devices.
For example, take a common DVD.
With "Virtual Diversity"™, we explode the possibility of DVD into
Our DVD Virtualization™ explodes -- and exploits -- the common DVD disc -- to the next level of technical evolution.
"Virtual Video"™ -- is the FUTURE of the DVD format -- freed from the OLD "discs technology" of the PAST.
And that is just "DVD Virtual Diversity"™.
We do "virtually" the same thing -- with Blu-ray, H.264/MP4 video, and commercial grade "master files".
FORWARD COMPATIBILITY "Virtually For EVER™
FORWARD COMPATIBILITY means a Virtual Film™ Transfer can be preserved "Virtually For EVER™".
When in a "free digital state" -- the "life of video" is "timeless. That is because the video is inside a "virtual (digital) container" -- instead of "captured" to a degrading or obsoleting physical medium.
In a "free digital state", the video is liberated
For example, a Virtual DVD requires NO PHYSICAL DISC and thus requires NO PHYSICAL DISC PLAYER.
This "free state" means (makes) the video "cheap and easy" to replicate.
This "free state" creates "New Product Opportunity™" -- to innovate the Virtual Video™ format into NEW mediums and devices -- as new technologies evolve in the future.
This "free state" means, a Virtual Film™ Transfer is both "forward compatible" AND "backward compatible" -- now and in the future -- with any medium and any device that can store it.
To this "free state" of Virtual Reality, we have added an on-board "media player" and "tutorial" -- as part of the Virtual Drive (i.e., Virtual Container™ Library) -- which is compatible with Mac or PC computer platforms.
For now, we are the only studio offering True Virtual Transfers™ -- now -- and having over a 5 year head-start on any other company in the Film Transfer Industry.
Our Virtual Video™ Preservation Method meets -- and exceeds -- Public Archive Standards of the National Archives and Records Administration and the Library of Congress.
On a positive note, I am looking for clients who purchase my services -- because they see both the "technical" and "fiscal" VALUE they can not get anywhere else.
Most of all, they see the enjoyment -- and the protection -- of what my services and products can give THEM and THEIR family.
Whether you purchase from me -- or somewhere else -- this website can help you make a better decision.
So there, you have seen the "illuminated side" of what we can offer our clients.
I would thankful if you would take a moment -- click the link below -- and see how I make what I talk about above -- happen for you -- in a "bundled offer" -- which is my way of giving "First Class", "World Class" service -- at a price, with a payment / production strategy -- that any family can afford.
Once you "understand" the concepts (above) and how I can make them a "reality" -- with a bundle of Services and Products -- you will have "the positive picture" of how we are changing the world of video preservation -- one family at a time.
Many client tell me, this is point where they book marked this page, or sent themselves a link, to find their way back.
You are on https://www.film-to-video.com
LINK: Bundled Offer for Virutal Film
Introduction to the Telecine Machine
In proper English "slang" -- still used in Great Britain...
Thus the name "Telecine".
"Telecine" is a process that converts moving images from movie film -- into a television broadcast signal.
The first "telecine process", was used in "live broadcasts".
Movie film was projected onto a movie screen, and a studio camera was pointed at the movie screen. To over simplify this explanation, the TV station antenna -- was connect to the camera -- and there you go! The entire TV station became the first "telecine machine".
Over time, the camera found its way coupled onto -- or into -- the projector; and a video tape recorder was attached to the camera, and the projector got a variable pattern shutter, called "2:3" or "3:2" pull-down shutter.
In order to even talk about telecine machines, you must first understand a little about movie film.
What is important for you to know is, commercial movie film -- with SOUND -- "standardized" on an exposure / playback speed of 24 fps (frames per second).
ALL "commercial telecine machines" duplicated 6 extra frames (or 12 extra fields) per second and inserted them into the stream of video images -- video which ran at 30 fps -- or the same as 60 fields per second.
Since all TV and video signals were "interlaced" this actually worked pretty good -- BUT ONLY WITH 24 FPS MOVIE FILM!
What is important for you to know is, you most likely do NOT own 24 fps movie film!
You most likely own one or some of the following:
In short, you own "small format" movie film -- designed to run "slower" than 24 fps.
"Slower" means, more time and motion passes -- between exposure events. Duplicating a frame -- and freezing it -- creates s "timing jumps". Multiple "time jumps" each second, creates, what is called, "judder".
Bottom line, the use of ANY "variable pull-down" method is very bad for slower, small format movie films.
This fact does not keep "film transfer mills" from selling 2:3 pull-down services to "the poor" and to minorities - or "the ignorant".
By the time "telecine transfer" industry was targeting the "domestic market" -- when VHS tape was invented -- silent 16mm and 8mm had given way to Super 8 film.
Telecine transfer of Super 8 film -- shot at 18 fps -- was possible at 20 fps -- even though the video images "ran too fast".
20 fps became the "acceptable" speed for synchronizing both 16fps and 18fps movie film to video tape -- using dual gauge telecine machines.
15 fps telecine machines were rare, expensive, only good for 8mm movie film, not Super 8 film. They were slower to use, and therefore, not as profitable. 15 fps telecine machines were used mainly in professional settings -- like TV stations -- or for commercial film transfer clients -- who could afford 15 fps transfer services.
Last century, most domestic movie film -- for the public, who did not know there was anything better -- was transferred at 20 fps.
Now, this century, we all know better -- and expect more.
However, running movie film "too fast" is quite literally -- "making a fast buck". For this reason, "big box" stores and pharmacies keep on doing it! This is an insult; but, adding "injury" to this "insult", they "do it" on DVD discs!
These transfers are known (professionally) as a "poor man's transfer".
IMAPORTANT NOTE: If ALL you want is a DVD -- and the cheapest (pun intended) transfer money will buy -- at any price -- then you are on the wrong website!
All "video professionals know", that a "single pass" machine can NOT begin to approach the higher quality of a "Professional Telecine Transfer".
This is because a "Professional Telecine Transfer", as you now know, is a multi-step process -- of which "telecine" is only one step.
Telecine Machines that "sound to good to be true" -- are; and they actually create more problems than they solve -- as you will soon learn -- and you can really see!
IMPORTANT NOTE: Virtualization using Digital Algorithmic Interpolation™ (DAI), allows us to produce "True-to-Life Motion" at "True-to-Life Speed".
"The poor man" should never need to pay for a "poor man's transfer" again!
COLOR DISTORTION FROM TELECINE MACHINES:
ALL "telecine machines" use "on the fly" "color correction" by means of
Bottom line, "video colors" have "color distortions" not found in the original "movie film".
But wait -- that is not the worst thing!
Automatic Color Correction can NOT compensate for the "pre-set color temperature" (i.e., color bias) of movie film
If that were not enough...
Automatic Color Correction DISTORTION is further complicated by
Bottom Line: 1
Automatic Color Correction in Telecine Machines
For example, under the best of film conditions,
In Layman's terms, using a "does-it-all-in-one-pass" telecine machine, you can kiss the "natural colors" of your movie films "good-bye".
Telecine machines were designed to "synchronize" -- 24 frames of movie film per second (24fps) -- to a 30 frames per second (30fps) video signal.
This is done by inserting duplicated "video fields" or "video frames" to an INTERLACED video stream. 6 more frames or 12 more fields per second -- depending on the pull-down pattern.
This method is called 2:3 (or 3:2) pull-down because of the irregular physical shutter patterns. There were several variations on this shutter pattern -- none of which worked well with slower, small format films.
What you need to know is, 2:3 pull-down technology was designed to work ONLY with movie film "originally shot" at 24 frames per second.
What you also need to know is, 2:3 pull-down is inferior and obsolete -- to Digital Algorithmic Interpolation™ (DAI)-- synchronization technology of this century.
Finally, what you NEED to know is, you most likely do NOT own movie film originally shot at 24fps; therefore, you should grab you wallet and run from any company offering a film transfer -- with a telecine machine that has any "pull-down" technology.
A "Telecine Machine" that "does-everything-in-a-single-pass" is the tool used by "big box stores" and "pharmacies" to exploit "the poor" and "the ignorant".
Most "small format" film telecine machines synchronize 20 full film frames of movie film per second -- into 60 interlaced video "fields" per second or -- into 60 progressive scan "frames" per second.
Although this translates into 30 video frames per second, the resulting video image is obviously -- WRONG -- and moving too fast!
This "speed distortion" is NOT in your original movie film.
This distortion is introduced by a "telecine machine".
Last century, this distortion was acceptable.
This century, this distortion is a "rip-off".
As you now know, to correct the speed distortion, many "telecine machines" use a 2:3 pull-down shutter patterns to insert extra frames of video -- to "slow down" the images.
You also know, 2:3 pull-down works BADLY with film shot at 16 or 18 frames per second -- like 8mm, Super8, and Silent 16mm movie films -- because it creates "judder" in the motion of the video image.
Again, it is obvious that something is "WRONG".
"Judder" is a "staggering effect" caused from duplicating (effectively freezing) frames of video. With "slow film", judder is very obvious to the human eye and gives many people headaches and eye strain.
"Two technical wrongs" do NOT make "a technical right".
Adapting "telecine machines" WITH HDTV, 2K and 4K CAMERAS -- adds a third layer of "WRONGS" -- as you will see later.
BOTTOM LINE: It is impossible for a "telecine machine" -- ALONE -- to synchronize SMALL FORMAT MOVIE FILM and achieve video at
These are just a few "Dirty Little Secrets". There are many more!
A "telecine film transfer machine" for "small format film" synchronizes film frames to video frames
At 20 fps, Super 8mm movie film runs 11% too fast
At 20 fps, Standard 8 and 16mm movie films run 25% too fast
Use of Progressive Scan at 60 fps, does not change these time distortions.
PROGRESSIVE SCAN ISSUES with TELECINE MACHINES:
Transferring 60 frames per second, instead of 60 fields per second, does not change the fact that the original movie film was shot at 16 or 18 frames per second.
Therefore, capturing "progressive scan" video does not make any of the above problems go away.
What capturing "progressive scan" does introduce, is the problem of miss-matching a 3:4 ratio format film, to a 16:9 video format.
This creates a problems with HDTV, 2K and 4K UHD TV displays -- which are NOT the fault of your movie film.
DIGITAL FILES FROM TELECINE MANCHINES:
Don't get too excited, just because "telecine machines" can give you "master files".
Master files made from Telecine Machines can have all the technical distortions listed above. "Master files" from these machines can -- in no way -- be considered the "digital equivalent" of your original movie film.
A stand-alone "digital video file" is NOT a "Virtual Video™ file".
Most "master files" are "proprietary" -- which ties them to "software editing technology" on either a Mac or PC computer. Both the software and the hardware are subject to "technology shifts".
These files are NOT virtualized.
Passing "master files" -- which are vulnerable to technology shifts -- on to the next generation -- is a disservice -- especially with the current shift to "cloud technology" -- which will phase out the laptop computer -- and laptop software -- as we know it now.
For this reason, I caution the use of "nonlinear editor bound" video formats -- like ProRes. Yes, we use Macs.
My Commercial clients use ProRes for Commercial "master files"; however, these same clients use DVPro Progressive format for "master files" -- to pass-on to their families. They also love what we do with Virtual DVD™ Disc-IMAGE™ files.
Movie Film Terms and Misc.
Since most readers have some "flavor" of 8mm movie film (Double 8, Standard 8 or slang - "regular 8mm movie film", AND Super 8 movie film) for simplicity of reading, I use the term 8mm film.
Super 8 film
Super 8, is an 8mm film, however, it has properties specific ONLY to Super 8 film, and when I use the term Super 8, I am excluding Double 8, Standard 8 or slang - "regular 8mm movie film".
A 16mm movie film transfer can be much more complex than a Standard 8mm movie film or Super 8mm movie film transfer -- because 16mm movie film was used both domestically (16fps silent) and commercially(24fps, sound) -- each purpose having its own "shooting speed".
For Example: 16mm SILENT movie film and 16mm SOUND movie film -- could be shot at 1 of 3 speeds -- even in the early century 1900s -- 16fps, 18fps, and 24fps.
We get 16mm film shot as all these speeds.
We have a very simple solution - a trade secret -- for assuring that the correct speed is used (more later) and insuring the highest quality of the 16mm format -- at any speed -- without speed/motion distortions.
"Silent" 16mm is much older than either Super 8 Movie Film or Standard 8mm (Regular 8mm) movie film.
Silent 16mm film is usually in some stage of "vinegar syndrome"; thus 16mm film is thus "more brittle".
We help you determine if you have "vinegar syndrome" and, if so, what stage of "vinegar syndrome" your film is in.
After you receive our 16mm Film price quote (now a 16mm Virtual-Transfer™), you are entitled to call me about your 16mm movie film -- for a free 16mm movie film transfer "evaluation and consultation".
Be advised, you can NOT ALWAYS SMELL "vinegar syndrome" (more on this later).
Reference to Virtualizing Standard 8mm movie film (slang - regular 8mm movie film) -- also apply to 16mm movie film.
This is because Silent 16mm and Standard 8mm and Double 8mm film -- of the early 20th century -- are of the same chemical composition.
Also, both film formats were shot at 16 frames per second.
Both 16mm SOUND Films and Super 8 SOUND film were both shot at either
All references to Virtualizing Super 8 SOUND Film -- also applies to 16mm SOUND Film.
Super 8 SOUND film typically has a "color shift" toward magenta and blue which requires aggressive color correction -- if not re-colorization.
Slang Terms: Mean the Same Thing
Slang Terms: Mean the Same Thing
General Overviews Or Questions:
Contact Us and Price Quotations