TUTORIAL: 8mm 16mm Film to Virtual-Film

ReMastered™ Virtual Video™

Einstein: Director of Marking

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A Film Transfer Creates a files

Concept of Master Files

In the visual arts, a "Master" is simply

For example: A glass negative, film negative, or 35mm slide are all "Primal-Film™ master files" masters.

Your physical "movie film" is your "Primal-Film™ master files Master".

Your Primal-Film™ master files Master "Movie film", setting in a box, is "going bad".

Any magnetic sound tracks

You have treated your Master Movie film as a "consumable"--

This is state of your Primal-Film™ master files Master Movie film -- if you are lucky!

Vinegar Syndrome:

If you are NOT LUCKY,

Mold:

If you are NOT LUCKY,

Your "Primal-Film™ master files Master" movie film itself --
can not be saved!

Only the images from your movie film can be saved --
to a "Digital Primal-Film™ master files"™.

This is called a "Virtual Film Transfer"™

This does NOT mean a "Digitally Hyper-Formated Film Transfer"

This is why "MATCHING" YOUR FILM -- TO A VIDEO FORMAT -- IS SO IMPORTANT!

Traditionally, future video products and backups, could be NO BETTER than your original movie film; HOWEVER

Our clients receive 2 types of files,

  1. The Primal-Film™ master files (before enhancements) and
  2. The Virtual-Film™ master files Master File (after enhancements).

Your two files are proof positive

Your Digital Primal-Film™ master files:

Your "digital" Primal-Film™ master files is

Color Guard is a digital process that protects the color data in your Primal-Film™ master files master. Color Guard Encoding allows a Post-Production Color Artist to AGGRESSIVELY make the images "better than the original movie film " -- giving them extra dynamic range to manipulate colors and luminance in ways

This method of capture is far superior to "old" "do-in-all-in-one-pass" telecine machines that --

Each example above is a situation where "machine over-ride"

See what YOU HAVE BEEN MISSING -- ALL THESE YEARS...

Your Virtually-For-EVER master files For HDTV -- made for HDTV:

Your Virtually-For-EVER master files For HDTV is digitally "normalized"

Your Virtually-For-EVER master files For HDTV is

Our Color Artists can bring out the subtitles of color temperatures --

Color Enhancement is where the added-value of our

Color Lock Enhancements (in the Primal-Film™ master files ) are realized as

MORE IMPORTANT THAT OUR GUARANTEE, IS THE FACT...

Your Virtually-For-EVER master files For HDTV is THE most important file in your archive.

In Summary:

A files is the BEST and ORIGINAL SOURCE of your digital images.

We make 2 (two) full-frame "files" as follow:

Primal-Film™ master files:

Virtually-For-EVER master files for HDTV:

Matching "MOVIE FILM" TO "files Video Format":

The "small format" film -- itself --
is the MAJOR determining factor -- in selecting a video format.

The Objective in "matching film to video format" is to achieve

a "Grain-to-Pixel™" Match

3 Other Influences:

  1. The client's limitations of hardware and software,
  2. The target video formats of the client's video products,
  3. Equipment and software limits of family, who inherit the client's video archive.

We offer ALL Virtual-Film™ master files which include

Unlike "analogue video", with "digital video" --

For tiny 8mm film -- one of the smallest antique movie film formats ever developed -- our research and development has shown that Apple ProRes and the family of DVCPro formats (below) is a "best fit" for 8mm, 16mm format films.

Why?

My tutorial How Film and Video Works -- explains the very different ways that film works -- IN OPPOSITION TO -- video images.

Like the story of "The Three Bears", there is a "transfer tolerance" where the ratio of film IMAGE™ quality to the ratio of video IMAGE™ quality is "just right!".

ProRes 422 is "Just Right" as a...

However, ProRes presents professional

That said, ProRes is positioned to become a "universal format" -- now that it can be used on Windows PCs.

DVCPro -- a FAMILY OF UNIVERAL VIDEO FORMATS -- that are "Just Right":

Because the family of DVCPro formats has been used MAIN STREAM by

  1. Professionals
  2. Pro-summers and,
  3. Consumers

DVCPro formats are well suited for long term video preservation.

DVCPro HD and Progressive (hereafter denoted as DVCPro HD/Progressive) video format has proven to be superior for SMALL FORMAT FILM - with a 4:3 aspect ratio -- and providing a "Progressive Scan IMAGE™" for HDTV -- for the following reasons:

NOTE: All these "full frame" PROFESSIONAL Video Formats

For domestic clients we suggest a Progressive Scan variant of DVCPro HD for both HDTV, DVD products, Blu-ray products, and Social Media -- which works on ALL non-linear editing systems in a Windows environment or Mac OSX environment.

We can offer other fomats, too.

Research and Development Note:

We put a lot of R&D money into "modern" format technologies -- which center around HD technologies. We know, first hand, about the artifacts from "hyper-formatting" small 8mm film formats.

My tutorial on How Film and Video Works (which you should have read before this page) covers this subject -- and the subject of film and video resolution -- in detail -- with lots of pictures.

DVCPro HD/Progressive is a "best fit" for legacy 8mm and 16mm film AND compatible with Windows and Mac editing environments -- which most consumer have. Dvorak Progressive is compatible with AVI (in Windows circles) or QuickTime (.mov in both Mac and PC circles).

Can we produce AVI video format?

IMPORTANT NOTE: AVI (Audio Video Interleave) is a "defunct" CONTAINER FILE -- not a video format. The most commonly used "video format" -- placed into an AVI container file -- was DV (.dv) -- which was "an interlaced file" under the DVCPro standard.

Most uneducated people think an AVI is a "video format", and by saying "AVI" they are actually talking about the OLD interlaced DV video format -- which was an "interlaced video format".

BE CAREFUL WHAT YOU ASK FOR!

If you "demand" AVI files, you are demanding a 20 year step BACKWARDS in technology -- developed for old FAT 16 hard drives in a Windows 95 environment using CRT (cathode ray tubes) "monitors".

Windows, the proprietary owner of the AVI file standard, has dropped all support for the standard many years ago. Third party software companies still support the AVI standard, just to make sales.

Modern Windows PC software will import and play QuickTime files (.mov) or raw Digital Video (.dv) files. A free plug-in for QuickTime Player for Windows is available from http://apple.com.

For professional clients - we recommend ProRes or Apple Intermediate (for older Mac systems). For Windows based machines, a Google search for "ProRes for Windows" will fill you screen with information on this topic.

WARNING: Video Formats 4K and RED: Capturing tiny 8mm film to these video formats are destructive to "small film formats" images -- especially Double 8, Standard 8mm and Super 8mm films. We do NOT warranty "hyper-formatting" small format film to Video Formats like 4K and RED. Learn what you DON'T KNOW YOU NEED TO KNOW at How Film and Video Works.

ProRes and DV/Cam formats test out to be a "best fit" both for Standard 8mm films and Super 8mm films.

Technical Notes on Apple ProRes: ProRes is without argument "the best" PROFESSIONAL FORMAT for both general video production for studios working in HD.

However, for most domestic clients -- with limited computer resources, ProRes video format is a stretch financially and technically.

Also, ProRes is a proprietary format of Apple, and thus NOT a good video format to "pass on" to the next generation of your family -- who might not know what a "format" is!

This is simply because passing ProRes video format to other family members --

YOUR customized "archive strategy", should consider that

If only one generation of your family abandons the files format,

In this line-of-logic ALONE, you should forget 4K and RED video formats. Period!

MiniDV tape is out-dated. However, from a Computer Scientist's view -- which I am -- "evaporated metal tape" is still THE BEST medium for an enduring, long term archive.

MiniDV tape -- DV/DVCam formats -- (and D8 or Digital 8 tape) are alive and well -- but they are "interlaced video".

Technical Note: We have developed a way to store Progressive Scan video on MiniDV tape and convert video from MiniDV tape to Progressive Scan.

As for MiniDV tape, we still encourage clients to accept this medium -- especially if they, or someone in the immediate family -- already have a MiniDV or HDV camcorders.

In the wake of technology shifts, MiniDV tape is a "hard sell" HOWEVER,

MiniDV tape -- used as an archive -- is

NOTE: Criticism of MiniDV Tape Longevity. Many people use and re-use a MiniDV tape, over and over -- shooting it in a MiniDV camcorder, rewinding it to preview it, and then uploading MiniDV content to their computer -- and then "recording black" to the tape -- and they do this until the MiniDV tape fails. This is an ABUSIVE USE of any tape, including MiniDV tape, will physically wear out a MiniDV tape in a matter of months. Websites who sell DVD discs -- as an archive medium -- refer to this abused life span of MiniDV tape -- to validate the use of DVD discs -- for archive purposes.

I personally am working with clients' MiniDV tapes -- from 1999 -- and I have NEVER had one fail.

TECHNICAL: DIGITAL TAPE IMPORT UPDATE: Microsoft has moved the CODEC to read and write MiniDV, D8, and HDV camcorders into Windows Movie Maker. Windows Movie Maker is now an OPTIONAL ADD-ON within Windows 7 and beyond. You must install Windows Movie Maker -- through Windows Add-on Menu -- to have access to the DV CODEC. Once installed, the DV CODEC is available to all software that may require the DV CODEC -- not just Windows Movie Maker.

Technical Notes on DVCPro:

File-based Media

DVCPro is stored either as Native DIF Bit Stream or wrapped into an audio/video Container File such as AVI, QuickTime and MXF.

Usage:

DVCPro formats enabled film makers to produce movies inexpensively, and became strongly associated with independent film and citizen journalism.

The high quality of DV images, especially when compared to Video8 and Hi8 which were vulnerable to an unacceptable amount of video dropouts and "hits", prompted the acceptance by mainstream broadcasters of material shot on DVCPro. The low costs of DVCPro equipment and their ease of use put such cameras in the hands of a new breed of video journalists. Programs such as TLC's Trauma: Life in the E.R. and ABC News's Hopkins: 24/7 were shot on DVCPro.

Professional television reporters such as Anderson Cooper and Katie Couric seem to shoot some of their stories themselves on DVCPro.[19]

DVCPRO HD was once the preferred high definition standard of the BBC Factual.

Application software support

Latest Update on DVCPro Format:

Cell phones and "hand held" video devices:

A "film transfer" format has to stand up to technology demands of both

Transcoding -- converting one video format over to another video format -- is very time consuming and expensive.

Both ProRes and DV/DVCPRO HD/Progressive transcodes very well into all variations of H.264 format -- "up-scaling" for Blu-ray on HDTV and "down-scaling" for web-casting and hand-held video devices -- like iPod, iPhone, etc.