">

Telecine Scanner MYTHS -- Dispelled

ReMastered™ Virtual Video™

Einstein: Director of Marking

iPhone Instructions: Click to Show/Hide

Film Transfer Sales Traps

8mm Film-Transfer Mills™ do NOT want you to know:

EQUIPMENT:

Many factors contribute collectively to the quality of your final video IMAGE™ from movie film.

Only ONE medium important factor, is "film transfer equipment" -- used to capture a film image.

However, when a company can ONLY contribute this ONE FACTOR to your final images, then this ONE FACTOR becomes the ONLY FACTOR "transfer mills" have to "sell you the moon".

8mm Film-Transfer Mills™ do NOT want you to know:

WHAT TRANSFER MILLS DO NOT WANT YOU TO KNOW ABOUT EQUIPMENT:

AUTO-WHITE BALANCE AND AUTO-BLACK BALANCE: Do-it-all-in-one-pass (single-pass) film transfer equipment use Auto-White Balance that forces ALL "near white" colors to "pure white" -- thus distorting the dynamic range of "natural, True-to-Life™ colors". They use Auto-Black Balance that forces "long light wave" colors (like navy blue) to BLACK.

NO RED AND GREEN SHIFT CORRECTION: Do-it-all-in-one-pass film (single-pass) transfer equipment does NOT correct Red and Green shifts. The dye in most legacy movie film has shifted colors with Reds and Greens toward the Blue spectrum.

2:3 PULL-DOWN JUDDER: Do-it-all-in-one-pass (single-pass) film transfer equipment use 2:3 PULL-DOWN shutter patterns that add extra frames to your SMALL FORMAT FILM which cause irregular, staggered-motion -- called JUDDER -- into the motion of your 8mm and 16 mm film images. This because these machines were originally designed for film shot at 24 frames per second. YOUR 8MM and 16MM film was shot at 16 FRAMES PER SECOND! YOUR Super 8 movie film was shot at 18 FRAMES PER SECOND! Some "8mm Film-Transfer Mills" actually charge extra for 2:3 pull-down -- taking the public for fools!

20 Frames Per Second Equipment: Do-it-all-in-one-pass (single-pass) film transfer equipment (not 2:3 pull-down) transfer both Super 8 movie film and Standard 8mm movie film at THE WRONG SPEED. 20 Frames Per Second Equipment introduces

FILM GRAIN ARTIFACTS: Do-it-all-in-one-pass (single-pass) film transfer equipment "grossly over-sized" video formats -- like 4K and RED format -- is called "Hyper-Formating". Hyper-Formating pollutes your original, tiny 8mm images AND "large grain", legacy 16mm movie films. More on this in Dirty Little Secrets™ Page 2.
Why? Movie Film images work VERY DIFFERENT than Digital Video images. There is a very small window of compatibility between movie film and digital video -- ESPECIALLY WITH SMALL FORMAT MOVIE FILM!

RAW LIGHT POLLUTION: Movie film was designed to be view on a "silver screen". The silver screen "masked" and "diffused" all but the deepest scratches in the IMAGE™ -- as "neutral grey" Scratches. Most Do-it-all-in-one-pass "scanners" -- which are actually "old projectors with an enlarging lens and mirror" -- force "raw light" into the smallest scratches of your film. These "bright, raw light" Scratches are then recorded DIRECTLY FROM THE FILM -- into your video. Thus "Do-it-all-in-one-pass" equipment LIGHT POLLUTES SCRATCHES -- in a ways that film images were never intended to be viewed.

Dirty Film Transfer Secrets™ are revealed by only abusive "business models". We can only disclose our business model as a "leader in the industry", and let you contrast our "business model" within that of the "8mm Film-Transfer Mills".

"8mm Film-Transfer Mills™" want you distracted by the "decision making" process. Details -- which are distraction the uneducated -- from the important issues -- like the quality and preservation of your movie films. These details include:


(Optional Reading)

THE DIFFERENCE BETWEEN SYNCHRONIZING SMALL FORMAT FILMS AND LARGER FORMAT FILMS:

For Example: With Small 8mm format movie film, an object, like a ball moving through the air, is exposed 16 or 18 frames per second. With large format film the same "ball" would be exposed 24 frame per second (more below).

That a big difference, which means, there are few frame exposures -- per second -- thus a greater TIME LAPSE between frame exposures. At 16 or 18 frames per second, the insertion of a duplicate frame -- here and there -- to synchronize the images to a video signal -- is very noticeable -- causing a "frozen frame" effect -- visible to the human eye.

With Large format movie film, the exposure rate is 24 frames per second. There are almost twice the number of frames of a moving object per second (16 compared to 24)-- thus a lessor TIME LAPSE between frames. At 24 frames per second, the insertion of an extra duplicated frame -- here and there -- is hardly noticeable -- and IS acceptable for synchronizing large format movie film to a video signal.

My Point: To "synchronize" large format movie film frames (24 frames per second) into video frames (30 frames per second), large format movie film equipment "insert 6 extra" video frames per second by capturing the movie film frames at irregularly timed intervals into the video stream of images.

The mechanical timing method of changing the rate of speed (timing) at which frames of film are "pulled into the projector" -- for capture -- at irregular intervals -- is called 2:3 Pull-down capture pattern.

Using 2:3 pull-down, judder is particularly visible and annoying -- when capturing film as "PROGRESSIVE SCAN" images.

Judder is obvious because the human eye actually can SEE

This creates a "staggered effect" which is called "judder". Adding "judder" -- to "hand-held motion" of your home movies -- can actually be so distracting that it gives some people "mild sea sickness" or "headaches and nausea". I am such a person.

Once judder is introduced to your film images,
judder becomes part of you images -- FOREVER!

This is a "damage" to your film images.

ALL equipment adapted FROM the "large format" Film-Transfer Industry -- uses some variation of 2:3 pull-down patterns and is profoundly ill-suited -- and wrongly re-adapted -- for" Small Format Film".

The alternative to 2:3 Pull=down capture, is to capture film -- exposed at 16 frames or 18 frames per second -- at the WRONG SPEED -- 20 frames per second -- which introduces both "speed" and "motion" distortion -- if left "as is". "Transfer Mills" leave it "as is", because they have your money.

We have literally "trashed" 2:3 pull-down equipment -- because of "judder" -- that most companies brag about using -- even charging you extra -- to do this to your home movies.


Small Format Film Transfer Scanners

Nice Film Transfer Secret ™:

Thanks to" State-of-the-art" Digital Algorithmic Interpolation (DAI),
for the first time in the history of" Small Format Film ",
you can now view VIDEO images of small format films as follows:

  1. At the same speed at which it was originally shot -- "True-to-Life™ Speed"
  2. With the same "fluid motion" of "True-to-Life™ Motion (For THE Times of YOUR Life™ )"
  3. With No more "judder";
  4. With No more "real-time distortion"
  5. caused by "telecine scanners" or "2:3 pull-down film scanners"!

Digital Algorithmic Interpolation (DAI), allows "post-production" options like

  1. "true slow-motion",
  2. "true fast-motion",
  3. "better incorporation of special effects",
  4. "digital frame stabilization", and
  5. less video generational loss --
  6. when transcoding to a diverse number of digital products -
  7. from a common master file.

This degree of "professional grade"post-production digital video manipulation has NEVER be available to" Small Format Film" clients -- before now. (Ditto for 16mm movie film - silent and sound)

Dirty Film Transfer Secret™ :

8mm Film-Transfer Mills™ want you to believe that old "telecine equipment" is" State-of-the-art".

Antique 16mm movie film and Standard 8mm movie film (shot at 16fps) should NEVER be film transferred with irregular "pull-down patterns", yet many 8mm Film-Transfer Mills™ sell "pull-down patterns" -- to" Synchronize" their transfer -- as part of their "premium" film transfer service.

Why? Because many "8mm Film-Transfer Mills™ " buy discarded "24fps EQUIPMENT" -- at pennies on the dollar -- and then modify it to accept "small format film ".

To throw you "off-track" with this equipment, they mount oversized 4K format cameras in these machines -- to "make you think" they offer something "new and better". The TRUTH IS, their technology is NOT new and their results create artifacts which are NOT in the original film !

Dirty Film Transfer Secret™ :

Since most 8mm Film-Transfer Mills™ -- mechanically inserting "extra frames" -- with "pull-down" methods -- into the video stream -- creating "judder" -- they also "profoundly limit" YOUR post-production options -- because of their "single-pass" same machines.

Dirty Film Transfer Secret™ :

Some 8mm Film-Transfer Mills™ give "consumers" a "choice of machines" -- to "hang themselves".
This "choice" removes liability for a "quality film transfer" FROM THE "8mm Film-Transfer Mills™ " -- and lays "quality of the film transfer" squarely -- and contractually -- upon the shoulders of their "consumers".

Dirty Film Transfer Secret™ :

These "8mm Film-Transfer Mills™ " claim -- in writing - results will be "better" than the "original film ", but
1) they do NOT back their claim -- in writing - with a "money back guarantee"; and
2) they do NOT offer -- in writing - "in home" evaluation of their work -- before YOU PAY.

NOTE: "Motion Judder" in the video IMAGE™ --
1) can never be removed,
2) it profoundly limits any "post-production" Special effect or speed adjustments,
3) gives some people head-aches and eye strain; and,
4) ONCE YOU NOTICE IT, it is forever a visual irritation.
5) People pay us to "re-do" their film projects -- just to "get rid of motion judder".

Dirty Film Transfer Secret™: Film-Transfer Mills™ will tell you "judder is normal" -- and accepted "industry wide". This is NOT true for "small format films". This IS true ONLY for films originally shot at 24fps or faster -- usually modern 16mm film and above.

News: "Film Scanning" technologies for small format movie film -- with 2:3:2:3 interlaced OR 2:2:4 "pull-down" technology -- WERE discarded "last century"!