The Professional Benefits of 15 fps Video Synchronization:

Mathmatically 15 frames of movie images -- divides evenly --- into 30 frames of video. If you are an animation artist, you LOVE these numbers!

With Liberated™ ReMastering™

• 1 whole frame of Movie Film -- is inserted into--
• Every 2 Frames of Progressive Scan Video.

Movie Film "Capture" (i.ei, Film Transfer) -- with a Telecine Scanner -- CAN NOT DO THIS -- at any price!

15 fps Video Synchronization offers more post-production options

1. like the option to add "very slow motion" to your video images or
2. like the option to add "very smooth antimation " to your video or
3. like the option to add "very special effects" to your video.

I find that Dual-pass Rendering really likes the 2:1 ratio -- for creating P-Frames and B-Frames -- for OLD legacy Video CAPTURED FROM Movie Film.

Super 8 SOUND movie film (18fps)

Above: Super 8 Sound film. The "sound track" is the wider copper colored track -- on the bottom edge of the film -- which was actually ferric oxide (rust). Track is actually "tape" glued onto the film -- which added "thinkness" to only one side the film -- making the "field of focus" lop-sided. A second band of ferric oxide "tap" was added -- next to the holes -- called a "balance track" -- originally inteneded to "square up" the field of focus.

Some inovative projector manufactures added a microphone to their projectors -- so that narration or music could be added -- onto the "balance track" -- to create mono-mixed sound (not stereo sound) -- of original anbiant sound -- with the added music or narration.

Unfortunately, sound added to the "balance track" -- usually music with a "wobble" -- was never very good, and polluted the original sound track. Also, and "empty" balance track added "noise" to the sound on the "sound track" -- again polluting what "good sound" is still there.

For this reason, most people opt to NOT copy this track -- but to ONLY preserve the "original sound" -- usually lip-synchonized with people talking in foreground and background.

When narration WAS added, it usually overlayed the "ambiant sound" -- on the "real sound track" -- so that narration would not conflict with "other voices" in the background.

The magnetic tracks on Super 8 sound film, ages more rapidly than the film itself -- the adhesives deteriorate -- and decades later -- and the sound track actually peals off the film.

Also, Sound film was originally shot at 18 fps, but MOST movie film capture services (i.e. film transfer services) must sycronize the movie images at 20 fps. This gives the sound a "chipmonk" or "higher pitched sound". This is yet another reason, many studio no longer "offer" sound services.

We can Liberate and ReMaster Super 8 SOUND film -- with True-to-Life Motion and True-to-Life Sound.

YOU DESERVE THE BEST!™

16mm Optical Sound Movie Film (24fps)

Above: Super 16 Sound film.

Using DAI™ , we ReMaster™ sound film images at exactly at those frame rates -- using a little Trade Secret -- to preserve

1. the integrity of the original sound track and
2. the integrity of the original image motion.

Warining:

Other Fiim Transfer Sevices use last century Movie Film Capture -- using Telecine Scanners -- that use a 3:2 pull-down -- to capture sound films -- especially 24 fps sound films;

A 3:2 pull-down shutter creates "judder" that

1. becomes very obvious on new HDTV and 4K displays; and,
2. becomes a very permenant motion flaw in the video image
3. is very anoying to the human eye!

Our Little Trade Secret:

Using DAI™ , we avoid ANY sound or motion distortion -- especially with 24 fps films!

Liberated ReMastered video -- with DAI™ and DPR™ -- will be BETTER than ANY telecine scanner using 3:2 Pull-down methods.

There are also MANY post-production benefits -- similar to15 fps Video Synchronization (above).

Telecine Scanners: Last Century Technology

Telecine Scanners are a "Video "Capture" technology that creates the following Telecine Artifacts in video images...

WHICH ARE NOT IN THE ORIGINAL MOVIE FILM IMAGE:

1. Speed / Motion Distortion
2. Real-time Run-time Distortion
3. Black & White Distortion
4. Color Distortion
5. Pitch Distortion
6. Interlaced Lines Artifacts
7. Irregular Duplicate Frames (i.e, judder)

With the immergence of HD and 4K video cameras, there is now a special class of "Movie Film Transfer" -- to avoid like the Plague -- called "Hyper-formated™ Video Capture".

Hyper-formatted Video has "gain patterns -- on their grain patters"; such that grain patterns in the movie film -- which have always been "obvious" -- are now "obnoxious" in the Hyper-formatted video.

What is even more obvous, is that these studos do NOT understand the first thing about movie film or video.

Movie film images are produced like shadow puppets in a light box.

Light is blocked by matter -- fingers or silver halide particles -- and only the one dimenssional LINE -- where LIGHT meets DARK -- contains LINEAR (i.e., detailed) INFORMATION -- about the image itself.

• The AREA containing THE DARK -- and
• the AREA containing THE LIGHT --
• contain NO LINEAR information.

Including the surface "area" of the fingers -- or the surface "area" of the silver halide particles -- AS PART OF THE IMAGE -- is stupid!

Ask any "Shadow Monster"!

Below, black AREAS represent DARK (shadows) of silver halide. White AREAS represent the colors of LIGHT -- all of which -- occupy a 2 dimensional geometric plane -- called a picture.

Only the edges -- the one dimenssional line -- that outlines each cluster -- where DARK meets LIGHT -- contains "data" about the image.

Hyper-formating super zooms -- like a microscope -- photographing each "particle of silver halide" -- on the surface of the movie film itself -- like photographing -- the fingers that form our "shadow moster".

Hyper-formating the integrate any "details" about the particle itself (like little fingers) -- into the final image.

The final image is polluted with little RGB (Red Blue Green) noise -- creating fake details -- within the shadow of the grain -- where NO "LINEAR" DETAIL actually exists.

This FAKE RGB Color "detail" IS VISSIBLE on all HDTV and 4K displays!

But that is NOT the BAD NEWS!

See image below. (Sorry, my RGB Color Noise is shown as "grey specks".)

The BAD NEWS is the COVER-UP!

To "cover up" the RGB Color Noise, Spatial Anti-Aliasing -- or a "blurring filter" -- is used -- to blur out the RGB Color Noise -- which also "blurs out" the "linear" detail -- encircling each cluster of DARK. See below.

The BOTTOM ROW simulates Spatial Anti-aliasing -- in slow motion.

This slow motion "simulation" compares

1. Progressive Scan video with
2. Interlace Scan video with
3. Interlace Scan -- with "line doubling"

Simulation also demonstrates interline twitter -- associated with Interlaced Scan video -- which gives some people eye strain and headaches.

• TOP Row: Original resolutions
• BOTTOM ROW: Spatial Anti-aliasing

• LEFT Column: Two Progressive Scan images.
  
• MIDDLE Column: Two interlaced images.
  
• RIGHT Column: Two images with "line doublers".

The TOP MIDDLE is what YOU have now.

The TOP RIGHT is what you can expect to see -- with what you have now -- using line-doubling technology -- on most DVD players on HDTV sets.

The TOP LEFT image is what YOU can have, if you Wise-UP™ to DAI™

What is wrong with last century Telecine Film Scanners -- still used by most companies?

Nothing, if you like last century video.

A Telecine Film Scanner

• Distorts both speed and motion of the moving pictures;
• Distorts progressive film images with INTERLACED video lines;
• Distorts images with "real time" playing time loss;
• Distorts images with "motion judder " using 3:2 pull-down;
• Distorts color with Black and White Color Correction (NOT!) which
  
  • forces some random bright color that is NOT white -- to be "white" and
  • forces some random dark color which is NOT black -- to be "black" and
  • distorts all other colors in between black and white -- to unnatural colors.

None of the distortions above were in the original movie film.

What studios using Telecine Scanners have NOTHING "to brag about" in my opion -- since we redo THEIR work -- routinely.

We get paid only after OUR WORK is compared to THEIR WORK

Using BEFORE and AFTER™ Video Comparison.

Video from 8mm and 16mm silent films

A " telecine scanner " -- last century technology -- "crushes"

• 60 minutes of movie film images into
• 45 minutes of video images
• a loss of 15 minutes of viewing time per hour of video
• that's running 25% too fast!

YOU DESERVER BETTER!

We give you BETTER!

Video from Super 8 films

A " telecine scanner " -- last century technology --

"Captures and Compresses" aka "Ripps and Stripps"

• 60 minutes of movie film images into
• 54 minutes of video images
• a loss of 6 minutes of viewing time per hour of video
• that's 10% too fast!

YOU DESERVER BETTER!

We give you BETTER!