8mm film is the original film which was produced by cutting 16 mm film right in the median. That’s why 8mm film only has sprocket holes on one side. The sprocket holes are somewhat square and large. Super 8mm is produced in the same manner but the sprocket holes are smaller and somewhat rectangular. This leaves a larger size for the capture area. Super 8mm will result in a better transfer quality by virtue of a larger capture area. Super 8mm will also result in a better transfer quality by virtue of being of a more recent date.

No. Let me explain why our company does not do it.

1) Sound film represents less than5% of total 8mm film.  It requires specialized equipment to do proper sound transfer of acceptable quality.  In our opinion, consumer equipment does not do an acceptable job.

2) Frame by frame transfer, which is what we do, stops each frame in front of the gate for a fraction of a second.  That would mean that the sound capture would stop for the same period of time.

3) In the process of standard editing we remove some footage which deems to be unsatisfactory.  Some times a frame or a range of frames are removed, for various reasons, including but not limited to burned film, dirty beyond repair film, damaged sprocket holes, etc.  That would mean distortion and or/interruption of sound.

Frame by frame is a process where the film is not played in the projector at full speed. Instead, the film runs at a speed of some 6 frames a second which is approximately 3 times slower than the normal speed of a projector. Full projector speed is either 16 frames a second for 8mm film or 18 frames a second for super 8mm film.  With the "frame by frame process", when one frame gets in the film gate a snap shot is taken of the frame. The film then advances to the next frame when another shot is taken. Each frame is computer assembled into a movie. In the traditional transfer, also known as "real time" transfer, the film is projected on a white surface at full speed and a camera captures the projected image. The film is recorded as a flow and it contains all imperfections of the optical transfer including flicker. It takes a lot longer to capture film frame by frame but the quality is significantly better.

Digital cameras come as 1-chip or 3-chip variations with the chips ranging in size from 1/16" to 1/3". To understand the difference between a 3-chip and a 1-chip camera you should know that all video cameras create their images using 3 colors; Red, Green, and Blue or RGB. A 3-chip camera has dedicated processing each color individually. This allows for greater tonal ranges and overall color quality. A 1-chip camera splits the three colors through its one chip and therefore takes a big hit in color quality. The size of the chip allows for greater processing as well. We use an HD 3 chip camera.  In as much as the film capture takes place in DV format which produces DVD quality images (720x480 NTSC resolution) the capability of the camera enhances

It is our opinion that each job or batch of film will have results which will differ from other jobs.  In as much as the process we employ gives as good of results as possible, the condition of the film is also extremely important if not even more important.

Age of film makes a lot of a difference. Film degradation is a reality and every day of delay ads to such degradation.  There are chemical processes that take place in time, one of which is the spontaneous acetic acid production in the emulsion.  This is known as the vinegar effect because the film starts to smell like vinegar.

The way the film was developed makes a difference.  If the developer solution was not properly washed off, the chemical process may continue for an unspecified period of time with unpredictable results.

Type of film makes a difference. In some instances, super 8mm will result in better transfer by virtue of having a larger surface by some 33%.

Film operator makes a difference. Recording a movie without concern for camera focus or without wearing glasses (if prescribed) will result in out of focus film.

Film technique and knowledge makes a difference. Recording a face at a few inches away will always result in no focus at all. Recording in no light will result in no image or extremely poor image. Recording in intense spot light from short distance will result in burned images.

Fast panning and zooming will result in bad footage. Extreme zooming will also result in shaky film unless the camera was on a tripod.

Organic film base shrinks with age and handling.  The result is that the sprocket perforations will no longer be in the right position and, if more than 1 % shrinkage occurred, it is possible that the film cannot be properly run.  There are two implications associated with the shrunk film.  First, the sprocket holes may get damaged when the film is run and second, the frames may jump during the capture process because of the inconsistent relation between the sprocket hole distance and advance film mechanism.

Frame by frame capture has the ability to get a lot more information out of each frame. This information, when exposed on a larger screen TV will become evident. Film grain is one of it. The standard 8 mm film is about 5X3 mm including the side edge and the frame separators. The actual image on the frame is 4X2.5 mm or 10 square mm or less than 0.03 square inch. One 4X6 print contains 24 square inches. Therefore to obtain a 4X6 image a a magnification of 800 is required. On a 32 inch TV a magnification of over 16500 is required. With a traditional capture, the image is in constant movement and, as a result every little grain is in movement as well. There is no detail because of the movement and the image is a lot blurrier, as a result. The film grain you see is the guarantee that the capture was done frame by frame and in perfect focus. It’s a good thing.

Primarily very dark images will tend to be grainier.  Also, color restoration which is done both in luminosity and color channels (RGB) will generate a grainier if not significantly grainier image.  We use a very good grain removal tool. That process is done at additional cost along with the color correction/restoration. However, not all the grain can be removed because the image would not look natural.  There is a certain balance between grain removal and image quality that can be achieved.

Do I really need film restoration?

In most instances yes, if you want to get the best look of the footage. Otherwise the film is going to look grainy the washed off parts will be barely visible, the dark footage will be too dark and the color will be what it will be.  The restoration is not going to do a miraculous change of the look of the film but it will revive some if not all of the footage, will make the colors look more natural and it will eliminate a good part of the grain. 

The capture process is only a part of the transfer process.

First step is the integrity film inspection and repair process. In this step up to 8 reels of 50 feet (3 inch) film are spliced together on a 7 inch reel (if necessary and allowed by the work flow). 

Second step is the film capture. For the "frame by frame" process, for a 50 foot reel it takes approximately 11 minutes for this step only.

Third step is standard film editing and/or custom editing (if ordered)

Fourth step is film restoration (if ordered)

Fifth step is the film speed conversion.

Sixth step is the film transfer to media.  If the final product is data, this process is rather fast.  If the final product is video the process is elaborate or extremely elaborate depending upon the specific requirements of the client (titles, chapters, transitions, text, sound etc, etc, etc.)

Seventh step is packaging which includes text or graphic display on the surface of the disk and the disk case.

All jobs are started in the order in which they are received. All steps up to film manipulation are done at a time and depending upon the number of reels it can take up to a day or more. The manipulation and actual transfer to media depends upon the quality and length of footage and it may take a few more days. Simple jobs are done in a few days, more complex jobs will take a longer time.  Rushing this type of work is not a good idea as the quality will suffer. It is better to provide the film footage with sufficient time in advance before the expected due date to allow for proper transfer.

The inspection is necessary to make sure that sufficient leader exists and that the film is not broken. If leader is missing the film cannot be put through the capture machine without loosing some 2 feet of footage. Therefore, a minimum of 2 feet of leader is necessary at the beginning of the reel.

Yes, there is a charge for the leader as indicated in the Price Calculator.

Yes. There is a charge for splicing broken film on the reel, as indicated in the Price Calculator. However, there is no charge to splice multiple reels into one larger reel.

Yes. There is a charge for storage reels, as indicated in the Price Calculator. Smaller reels have to be put on one larger reel. There are three reasons why. First reason is related to the length of captured footage. Each end of film is either firmly attached to the reel or does not advance through the capture machine because there is no way of passing it entirely through the advancing mechanism. If the film at the end of reel is loose, it tends to move freely and it creates capture disturbances. This results in a small loss of captured footage or capture problems. When reels are put together, all film flows continuously up to the end of last foot of film. Second reason is the elimination of repeated loading and unloading time. Third reason is purely related to the storage of film which is done with a significantly lower number of reels and with sorting within the reel and among the reels. All large reels are numbered in logical order. The result is a more complete capture process at a higher overall speed and with a better storage advantage.

The smaller the reels the more work and time is required inspect and assemble them into larger reels for a more complete and efficient transfer and a better storage.

8mm film speed comes in two main flavors. Regular 8mm film was shot at a theoretic speed of 16 frames a second. Super 8mm was shot at 18 frames a second. Nevertheless, since this a mechanical process the speed is relative. When played through a projector, the speed may be adjusted but in many instances it does not look right. NTSC system requires an approximate speed of 30 frames per second (29.97 to be exact) To properly display the film on a regular TV, we stabilize the play speed for natural movement.

Digital merging is required to eliminate all empty footage from the captured film. We do not leave the film as is. Some transfer companies will eliminate footage containing 5 or more seconds of bad material. We do the same with one exception. We go down to less than a second of bad material. This results in virtually eliminating all the bad footage that is longer than a second. There is no additional charge for this step.

Film editing is going beyond eliminating bad footage. It involves many levels of film alteration not only as regards quality but as regards composition. This step is usually very time consuming and there is additional or significantly additional charge, as indicated in the Price Calculator.

Captured footage can be transferred to DVD or mini DV tape as is, without any speed adjustment or manipulation whatsoever. The files are generated in their pure format (.avi) and are entirely suitable for further editing. Files can also be compressed and transferred to DVD in .mpeg format which is also suitable for editing. The advantage of .mpeg files is that they take significantly less space (perhaps 5 times less space). The disadvantage is that compression results in loss of quality. Yet, .mpeg files are still suitable for DVD creation. The most common transfer to media is the DVD video which is the final product suitable for playing in a consumer DVD player. These files are not easily editable.

Standard format is the way a regular TV displays the image. It is a ratio of 4:3 magnified depending upon the diagonal length which could b 20", 25", 32" and so on.

Widescreen format is the same concept only that the ratio is 16:9 which I more rectangular than a 4:3 which is closer to a square.

Film transfer fits in a 4:3 or standard format due to its native nature.

Is my video DVD going to be interlaced or progressive scan?

That depends upon the final destination of the DVD.  If you plan on watching it on on old CRT (standard TV), the interlaced image would be more suitable.  If you plan on watching it on a more modern TV such as plasma or LCD or DLP the progressive scan would be more suitable. Another factor may also be the type of DVD player(s) that you are using.  Since there is no easy answer to the multitude of options, unless otherwise requested, we produce the video DVDs in progressive scan mode.

The DVD will have a main menu which will be a motion menu and a generic background sound. The DVD will also have chapters which can be separated either by reel if the footage is specific enough so that a clear separation can be made or by specific amount of time (most customers choose 3 minutes).  The remote control will be required to navigate back and forth among chapters.

If the final product is a video DVD the answer is yes.  Since you have a starting menu you need to have some kind of title information there.  The title needs to be very descriptive and very short.  "Jones Family Memories" or "Our Wedding - June 15, 1955" or anything along those lines.  The DVD top surface and the DVD cover insert will be inscribed with the same information unless otherwise requested.

Adding music to the captured footage is strongly encouraged. Silent footage is "dry" while choosing appropriate sound background can bring video to its real live potential. Customers have to provide their choice of music, either on original CD or in .mp3 format. Music on original CD is strongly suggested. Written list of track numbers in the order in which they are to appear on DVD is also necessary. Otherwise, the music will be used in track number order. Music cannot be strictly associated with specific footage but an effort will be made to put relevant music in relevant video positions to the extent to which it is possible. We do not provide "free" music as, it is our long experience that, such music does not complement the specificity of footage for each customer. All music provided will be returned to client along with the original materials and finished product.

If another country is using the same NTSC format the answer is yes.  If the format is PAL or SECAM, the footage needs to be prepared accordingly.  Each system is using its own speed and frame size.  Producing multiple formats requires separate editing/rendering and separate DVDs.  For overseas orders or destinations, please provide all necessary information before the job is started.  Otherwise, re-rendering charges will apply.

There are at least three elements which determine the cost of transfer. One is the capture itself.  The second is the the level of enhancement/editing required. The third is the final form that the captured footage is going to take (DVD file, DVD Video, VHS, etc). The Price Calculator gives all available options to make a preliminary determination. The final determination can only be made after the inspection of film, actual size of reels and cost of editing (if any).

Assuming that entire captured footage is used, a 50 foot reel of film will take slightly over 4 minutes to play. About 25-30 reels of 50 foot film would fit on a standard play Video DVD of 2 hours. To maintain a decent quality of footage we do not recommend video compression that would allow significantly longer play time on a single DVD.

The original footage will be kept on file for 30 days from delivery. After that the material may be either discarded or converted and compressed to save disk space. It takes about 12 Gb of space to store one hour of original footage. There will be no firm guarantee that the footage will be kept beyond 30 days. It is strongly suggested that clients purchase the original footage either on DVD or on tape and store it in a safe place for future editing and/or reproduction. In case of video DVDs we will keep the final product in form of .iso file for at least 90 days.

We reserve the rights to use captured footage or parts of captured footage either in still or animated form for advertising purposes. Clients who do not want us to use their captured footage may notify us, accordingly.

The above information only represents generic questions and answers and in no case should it be interpreted as a contract. Customers are strongly encouraged to ask all relevant questions before placing an order. This document may be changed or updated with new information, at any time.