Dirty Little
Trade Secrets!™
Transferring 8mm Movie Film, Super 8 Film, and
16mm Movie Film to
Digital Video, DVD, Blu-ray, and Virtual Disc.
BUYER BE AWARE and BUYER BEWARE
OF
Dirty Little
Trade Secrets!™
The old Chinese
proverb, "Be careful of what you ask for, you may get it!"
is profoundly prudent advice when making the statement,
"I want a DVD of my home movies".
Transfer
mills are NOT interested in what you really NEED;
They are only interested in 2 things:
1) What YOU ARE IGNORANT ENOUGH TO ASK FOR and
2) What YOU ARE IGNORANT ENOUGH TO PAY FOR.
"Transfer Mills" WANT TO KEEP YOU IGNORANT!
Film-to-Video Buyers Guide will ALARM YOU and then ARM YOU -- with the Dirty Little Trade Secrets™ of the "small gauge" film transfer industry.
"Transfer Mills" do NOT want you to know about
THE CURRENT VIDEO TECHNOLOGY SHIFT.
Before you can learn what is "out-dated", you have to know what is "up-to-date".
A whole new
generation of people – from grade-school through college and beyond
– are now watching movies on
A whole new generation of technology -- cell iPhones,
iPods, and iPads – or “like” "hand-held video devices".
 |
By Bruce Mayfield |
These
same "hand-held video devices" NOW connect to HDTV -- allowing
access to
Movies on Demand over the Internet – from NetFlix , iTunes Store, etc.
What these "hand-held video
devices" use to read and write data are “Solid State Drives
(SSD)”, “Flash Drives”, and “Memory Cards (SDHC and SDXC)”.
What ALL these "devices" do NOT use, are DVD and Blu-ray discs!
While YOU and I still want DVD and Blu-ray -- because we own DVD/Blu-ray players -- and we know how to use these “older”, “disc” technologies; a very large number of the "new generation" don't care if they have DVDs or not. They "download" their entertainment; or they "stream it". HDTV? No problem, they just "dock" their "hand-held video device" to any HDTV or computer -- and "let the good times roll"! The "hand-held video device" is replacing the DVD play and even the Blu-ray player.
WHAT "TRANSFER MILLS" DON'T WANT YOU TO KNOW...
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Dirty Little Trade Secret: DVDs
and Blu-rays are "last decade's technology" -- but "this decade",
You only have to look at what iPod and iTunes has done to the Music CD market (remember Music CD discs?) to see what is NOW happening to the DVD disc. Do you feel like an "old-timer" yet? Why do "transfer mills want you to use DVDs? TRUTH: DVDs are
"cheap" -- with high margins! Asking ONLY for a DVD -- of your home movies now – is almost like asking for a VHS tape -- 5 years ago. Be careful what you ask for! Asking for a DVD ONLY, is a dead end, death sentence for your video memories. Like “Regular 8mm film, Super 8 film, and VHS tape – physical DVD disc and, yes, even physical Blu-ray discs are soon to be abandoned relics of technology. WARNING: “Disc technologies" – DVDs, Blu-rays, Hard Drives -- having replaced VHS tape and VHS players LAST DECADE -- are now -- THIS DECADE -- being replaced -- by “Solid State Drives (SSD)”, “Flash Drive” and “Memory Card (SDHC and SDXC)” technologies -- say nothing of “Internet Video Streaming” technology -- over the Internet -- like NetFlix, Apple iTunes Store, etc. NOTE: Assume, "Where Walmart leads,
the market follows". Walmart/Sam's -- one of the larges DVD retailers -- is now making huge investments in
"Digital Movie Card (DMC)" technology by joining forces with VUDU.
According to Internet news, they seem to be liquidating huge DVD Movie
inventories in preparation of mass distribution of DMC. Secondary
evidence of this, is that as "blank DVD" inventories are declining,
blank Memory Card inventories are increasing. |
Feel like "the last person on earth to find out? Feel "a little ignorant"?
Media and Generation Diversity™
(MY CURE FOR IGNORANCE)
"Transfer Mills", do NOT want you to know the latest developments in media and technology.
The "Future Generation" is here -- and now -- if
you want to "pass-on" your home movies and family film history,
you must DIVERSIFY your home movies to play on BOTH
"Last decade's technology" --
that YOU USE every day and
"This decade's technology" -- that THEY USE every day.
To do this, you need to know the BEST KEPT SECRET in the
industry...
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We just finished in-house testing of our
“Newest”, “This Decade's Products"; and
You can now have ALL
the following "Media and Generation Diversity™"
–
(Older) Physical Blu-ray disc and
(Newest) VIRTUAL-Blu-ray™ disc, Because we are introducing these “new products” --- never before seen by the public nor by our industry – we must also introduce “new product concepts” (i.e., how to use these products). Details like this make both this website and my quote longer than I would like -- but worth your reading. WHAT ARE "VIRTUAL DISCS": Virtual disc are another name for "disk image files". They have been around for years. In the Apple world, "disk image" (DMG and IMG) files are used all the time. They will mount just as if they were "hard drives" or "DVDs". In the PC world, disk images are called "ISO" files.
In the software (applications) world: For years now, the software
industry has been using "virtual disks" for distribution of software.
We have all "downloaded" a software "package" or "update" and then let
the computer "install it". We have all used virtual disks -- and
did not even known it. On a Mac, you actually have to "mount the
disk image" -- like a hard drive or DVD -- and then "drag and drop" the
software application from the "virtual disk" on to your "hard drive". Again, you only have to look at what iPod and iTunes has done to the CD market (remember Music CD discs?) to see what is NOW happening to the DVD disc. Do you feel like an "old-timer" yet? IF A WHOLE NEW GENERATION OF PEOPLE AND TECHNOLOGY USE "VIRTUAL DISCS", WHY SHOULD YOU NOT HAVE YOUR HOME MOVIES ON A VIRTUAL DISC, TOO? Especially IF you could still have DVD and Blu-ray for about the same price, too? BEST KEPT SECRET: Right now, I offer ALL the products above for a price competitive with what many "transfer mills" will charge you for "just a DVD". Who knew?! Read my website,
get smart about what you -- and the new generation of your family "need"
-- and you can take advantage of our current marketing promotion --
which gives you many of the products above, free -- when purchasing our
basic product line -- which, yes, includes DVDs! |
The words, "small gauge" should rock you -- like a sledge hammer -- with the realization that "small gauge" also means "slower speed" movie film. Small and Slow are both the foundation -- and difference -- between the "small gauge" film industry and the "commercial film" industry -- most techniques and technology -- designed for one -- adapt very badly --to the images of the other.
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"Small gauge movie film" means, small format movie film (i.e., Standard 8mm, Super 8, and 16mm movie film) used for "home movies" -- with or without SOUND. "Slow speed" means the movie film was originally shot -- and meant to be watched on the silver screen -- at 16 frames per second (fps) and 18fps. Larger format movie films, 35mm and above, run at 24fsp. This is extremely important information to know, to avoid "judder" or "pull-down pattern" distortion in your movie film transfer. Learn more later. JUST A TASTE of What You Don't Know, (that you don't know) About Film Transfer -- AND Will Hurt You: Film transfer "mills" would simply rather you not know the longevity of a writable DVD (DVD-R and DVD+R) is only 2 to 5 years. I show the research which proves this later. Blu-ray can be argued to be "like" DVD in sharing this chemical longevity property. DVD and Blu-ray discs are NOT an "archive worthy" media, based on longevity studies. Most people have their 8mm movie film, Super 8 Movie Film, and 16mm movie film transferred ONLY to DVD -- and many of these people, sadly, purchase only 1 DVD set -- wrongly assuming it will last "forever". Film transfer "mills" would rather you not know that, in a "direct" movie film to DVD transfer, MPEG2 -- the format of all DVDs -- actually throws away up to half the data (resolution) of each and every frame of your original movie film -- in order to "compress"-- or "crush" -- the visual data to fit onto a DVD. Speaking of DVD compression... Film transfer "mills" would rather you not know that a direct movie film to DVD transfer 1) throws away up to 20% of "whole frames" and 2) substitutes 80% "partial frames" for most of the "full frames" your original 8mm, Super 8, and 16mm movie film. MPEG2 is NOT an "archive worthy" format. Most people would turn violent if anyone took their 8mm movie film, Super 8 Movie Film, and 16mm movie film and started "stripping it down" and cutting frames; but digitally, that is exactly what a "direct" movie film transfer to DVD does digitally -- leaving what is left to start "dropping out" of the physical DVD after roughly 5 years. Film Transfer "mills" would rather you not know that both DVD disc and the video format of DVDs (MPEG2) are NOT "archive worthy". So why are YOU wanting to "archive" images from your 8mm, Super 8 movie film, and 16mm movie film to DVD? Did not know that you were "asking for it"? Well you are-- when you demand (with your money) a "film to DVD" transfer -- and NOTHING ELSE! And "your demands" get worse! Much worse! The concept of Digital-Film™ and a Master Archive™ file structure is not even theoretically possible with a DVD or Blu-ray disc. Digital-Film™ Master Archive™ files -- a digital video product that is -- frame-for-frame -- the digital equivalent of "every frame" of your 8mm, Super 8, and 16mm movie film -- is something transfer "mills" don't want to talk about -- because they can not create products that come close to the equivalent of your original movie film. More on this MOST IMPORTANT of all archive concepts later. Film transfer "mills" would rather you not know "the Dirty Little Trade Secret™" that these same highly compressed MPEG-2 files can be copied from a DVD onto a Blu-ray disc, in a scam to sell you a "fake" HD product. Because the Blu-ray standard is "backwards compatible" with the DVD standards, your Blu-ray player will play it -- thinking it is a "strange" DVD, I will tell you how to catch this scam -- easily. As for HD, for HDTV, movie film transfer "mills" would rather you not know that a direct movie film to AVCHD video format (a play-only format) -- AVCHD now the standard procedure for HD transfers - that AVCHD severely limits and cripples video editing, which results in profound generation loss -- "crushing the video" -- when rendering edited sections. Film transfer "mills" would rather you did not know that AVCHD format video, a "play only" format, is also a "very lossy" format which is miss-matched to the capture of - your original Standard 8mm, Super 8, and 16mm movie film. Film transfer "mills" would rather you not know that they "push" amber (colored) tinted discs -- deceptively as "archive gold" type DVDs and Blu-rays -- the most expensive media in the world. Then, they load them with the worst, degraded, least usable, and most highly compressed video formats -- money can buy. Time then reveals these "amber tinted" - with the word "gold" somewhere in their name -- are no better than generic discs. |
If you think that was
scary, "Film transfer
"mills" would
simply rather
you not know a lot more facts --
and Dirty
Little Trade Secrets™ -- that you are about to learn.
Hang
on to your hat!
IMPORTANT NOTE: Blu-ray Discs
Hereafter in this website, when we say "DVD", unless otherwise stated, you may assume the same principle applies to "Blu-ray".
And here is why...
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Recently,
with the technology shift to HDTV, there is a shift - industry wide --
to Blu-ray technology. Because
1) a Blu-ray disc is made basically from the
same materials as a DVD disc, and So far, no one in the Blu-ray manufacturing community can present data that this "assumption" is incorrect -- although we keep asking -- and hoping -- that evidence to the contrary will be revealed. Meanwhile, without data to back their claims, we must "read between the lines" of what is NOT said -- namely, "longevity tests" specific to Blu-ray disks are incomplete if they do exist. |
Dirty Little Trade Secret™ #1:
The Shelf-life
of a "writable" DVD-R/+R is ONLY 2 to 5 years.
The Shelf-life of a "writable" Blu-ray disc must be assumed to be "much
like" a "writable" DVD.
Neither a "writable" DVD nor a "writable" Blu-ray disc can be consider
"archive worthy".
"I want my movie film on DVD or Blu-ray".
Transfer mills" will put your home movies on DVD or even Blu-ray disc -- and no more -- doing exactly what they are asked to do. What they don't tell you is criminal, in my opinion.
What the "transfer mills" don't tell you, is that your disc has a shelf life of only 5 years before there is a risk of "data drop-out" which can result in artifacts (i.e., little square blocks appearing in your video, or frozen frames, or even frozen video). Once this happens, the disc is dead with no recourse or solution. Unless there is a "master video' in a safe place -- to be used to create a new disc, the old disc is lost and the movie film legacy of the family with it.
What they don't tell you, is "keep your movie film because, after 5 years, you may need it again". Since most people "trash their movie film" or the "transfer mills" do it for them" -- upon delivery of their DVDs or Blu-ray discs -- in 5 short years -- most people realize too late that their simple request, was a request for the ultimate destruction of the only and the last living images of those people most beloved to them -- in their beloved movie film legacy.
They did not ask for what they needed -- only what they wanted.
Clients need an "archive". An "archive" is a "long term" concept -- spanning decades -- versus the "short-term" ideas of a "backup" or a temporary "transport medium" -- less than 5 years for video data and 2 years for computational and ASCII character data.
Most transfer mills DO NOT want you to know that DVDs have an unexpectedly short shelf life of 2 to 5 years. Their whole production process focuses on the use of silver & dye based DVD-R technology -- and nothing else -- to archive your movie films. When I say "archive" I mean, "To store ALL of the original image, of each and every frame of the original image -- for a long, long, time."
Open the details to this window to learn about why "archive gold" type discs -- with a shelf life of 200 years -- have NOT been used and why "video format" is a MORE important consideration than "longevity" -- for those who wish to ask the wisest questions.
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The very integrity of CD-R, DVD-R (and, we can assume Blu-ray) technology -- which are chemically very similar -- has been challenged by media experts worldwide. Some experts -- like Kurt Gerecke, a physicist and storage expert at IBM Deutschland GmbH -- are now reporting that the life of some optical media (CD-R and DVD-R) to be only 2 to 5 years. These statements are clearly backed by longevity tests on "dye based" platter technology -- CD-R, DVD-R and DVD+R -- conducted by the National Institute of Standards and Technology. Results showed that failure rates for dye based DVDs with silver backing (originally thought to have a long life) were far worse than anyone had realized.
The fall-out from this study is that Computer Industry and the Federal Government -- are ditching DVD-R, DVD+R, and CD-R for "archiving" any type of digital data or digital imagery. Do not confuse "backups" with "archives". A client of ours who is a government employee provided us with the links above; He says that some government agencies -- including the Library of Congress -- are now giving caution to their employees on the use of silver backed dye based optical technology for "archives". Does this warning extend to Blu-ray discs? What we do know about Blu-ray technology, is that it uses "blue laser technology" and DVDs use "red laser" technology -- on basically the same type disc materials. What we do know about Blu-ray is, blue laser technology can write data tracks closer together -- on a DVD sized platter. What we do know is, there are NO longevity studies for Blu-ray discs - to my knowledge. This is odd, in light of the traumatic effect of longevity studies on DVD discs -- made from very similar materials. If we follow logic, instead of some sales pitch, we are forced to form both the opinion and assumption that Blu-ray disc longevity is "like" DVD disc longevity; and, for all practical purposes, a Blu-ray disc may be "more like" a DVD -- only with a Blu-ray label -- more like a DVD, than we would "like" to think -- or, for that matter, the disc manufactures would "like us to think". As a result, of "too much thinking in the market place", the disc manufacturing industry has developed an "archive gold" type technology, which claims varying longevity thresholds, with some giving themselves as high as a 200 year longevity rating -- or your money back -- with proof of purchase and proof of ID, of course;( As of June 2011, the cheapest "archive gold" type Blu-ray disc, that could be purchased on the Internet, cost $15 plus the cost of shipping, roughly $5 dollars -- for a total "low price of $20 each. Bulk purchase could reduce that to as low as $15 each, after shipping. My point is, "archive gold" is expensive -- especially when you must consider waste from "bad-burns", "failed burns", "power outages" -- waste that is always associated with the duplication process -- for any number of the most "dog-gone" reasons. This factor puts "archive gold" expenses right up there with the cost of (more forgiving) Flash Drive, SDHC card, and hard drive prices. For Example: Given the fact that prices for hard drive technology has plummeted over the last year, you can now buy a 500Gb hard drive for roughly the same cost of buying 3 or 4 "archive gold" type Blu-ray discs -- which will store only 25Gb each.
In the ComputerWorld warning -- on the use of CD-R, DVD-R and DVD+R for "backups" -- corporate wisdom is to "back up" your "backups" every 2 years -- for data -- and every 5 years for digital images, like video and pictures. As for "archiving", their word of wisdom was: use nothing but metal particle magnetic digital tape for an archive -- and keep at least one "archive backup" of that. What they did not address, what the "transfer mills" don't tell you, is the fact that all video data -- expressed as a "video format" -- is NOT created equal; that in fact, some video "formats" are crippled by design and "very lossy" -- like MEPEG-2, the default format of a DVD; and MPEG-4, AVCHD, H.264, the default formats of Blu-ray. These formats are far inferior -- in many ways -- to "lossless" or "lightly lossy" video formats. My point is, even though you may want to "archive" a format -- like a Blu-ray H.264 BD format, for HDTV -- the format itself is NOT "archive worthy" - because it is far inferior to the original HD raw video -- captured from your original movie film. More on this later. LAST BUT NOT LEAST: The Blu-ray Scam Transfer mills don't tell you this one for sure. The victim in this scam thinks s/he is buying a High Definition (HD) Product Blu-ray product for an HDTV -- but instead pays a premium price for a fake Blu-ray. The Scam: The transfer mill takes a DVD -- using MPEG-2 format -- and copies the MPEG-2 disk image onto to a Blu-ray Disc. This is fast and easy to do. Since Blu-ray technology is backwards compatible with DVD technology, the MPEG-2 video "plays just fine" -- when plugged into a Blu-ray player. The Blu-ray disc -- with DVD quality video -- is then sold to the victim as a "Blu-ray" disc. The finishing touch to this scam, is that the "transfer mill" uses a cheap "gold tinted" disc -- which are manufactured as an "archive gold" "knock-off disc". In reality, this "knock-off disc" is a generic Blu-ray with a "gold tint" to the face of the disc and has the word "gold" somewhere on the packaging -- which is deceptive advertising, in my opinion. In the end, the "transfer mill" has used a cheap to produce, inferior video format, and cheap "knock-off" media to make a huge margin of profit -- for minimal work. The victim can view their movie film images on their new HDTV, knows something is wrong, but can not put a finger on it. If they confront the "transfer mill" they are just told the problem is they have "crummy movie film". This scam can be detected using a computer - if the victim knows what to look for. Reducing all this information to a point -- once people know "the truth", they are reluctant to buy an expensive "archive gold" type disc to "archive" lowest grade video formats -- or even to "set themselves" up for a Blu-ray scam. Knowing what to ask for is second only to, knowing who to ask. Do you still want you movie films "archived" -- to an "off the shelf" DVD or Blu-ray? What do we do? We capture your movie film, as raw video, into a format
best matched to your needs -- like Apple ProRes, DVCPRO, DVCPRO HD,
Digital Video (DV). All these formats are 1) full frame for all frames,
2) higher resolution than the resolution of your original movie film, and 3)
used in editing software on 64 bit, multi-core, state-of-the-art PC and
Mac computers. Using one these formats, after Re-Colorization of the
images, we then make Blu-ray and DVD Virtual Movie Disc ™, and then,
physical discs. |
Dirty Little Trade Secret™ #2:
"Digital Copies" are not the "Digital Equivalent" to Your Original Movie Film
Transfer Mills sell you a "digital copy" of your movie film on DVD. They do NOT sell you the "digital equivalent" of your movie film on DVD. Technically, that is impossible.
Transfer Mills do NOT want you to know, you need a "digital master archive" -- made directly from your original movie film. They want to sell you a DVD "copy" of your movie film. After having read Dirty Little Trade Secret™ #1, you now know why your movie film should NOT be "archived" to a DVD only - because a DVD is not an archive.
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Right now, your original movie film is your master. In fact, there is no copy,
of any kind, of your original movie film. What is worse, you have almost "used it up". Your original movie film is "going bye-bye" - otherwise, you would not be reading my website. You need the digital equivalent of your movie film - in every way - to preserve what is left of your movie film, that is to say, preserve the earliest record "moving images" of your family roots - which will forever be priceless to your progeny - unless you screw up now. FACT: Your movie film is "high resolution" - your "digital master" should be as well. FACT: Your movie film is made up of "full frame pictures" - thousands of complete pictures - so should your "digital master". |
Dirty Little Trade Secret™ #3:
DVDs are not "high resolution".
If I told you I was "throwing away half of your movie film to transfer to DVD", would you do it?
Well, that is exactly what "transfer mills" are doing. Each one of the "little pictures" in your movie film is made up of hundreds of "little lines". If I throw out every other "little line" to fit your movie film to a DVD, I have thrown away half of your movie film, haven't I?
That's what MPEG2 compression does.
Still want me to transfer your movie film to DVD?
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Worse yet, just to give you the proper perspective
on DVDs made by the transfer mills, the DVDs (single layer DVDs) made on
a computer are about half the resolution of DVDs (double layered DVDs)
that come from the "video store", because they have a smaller
capacity.
Does that mean that a DVD, made by most transfer mills, might rival only the home-made quality of a VHS video tape? Does that mean you can forget about ever seeing the quality of your original movie film? Yep! Pseudo-technocrat Note: Did you ever wonder why it takes 2 DVD-Rs, made on a computer, to copy (rip or steal) 1 DVD VIDEO from the video store? (Not that YOU have ever tried to steal a DVD - but that you have just wondered about such technological things that your golf buddy mentioned to you?) Details about MPEG2 compression and DVDs can be found in the tutorial. |
Dirty Little Trade Secret™ #4:
DVDs and Blu-rays are NOT made up of "full frame pictures" -- like your movie film.
In a nut shell, DVDs are made up of thousands of JPEG pictures, aren't they? "Well, not exactly". The Dirty Little Trade Secret™ is that MPEG2, the video format for video DVDs, only "starts out" with one JPEG picture (of your grandmother). That's where all similarity ends.
MPEG2 compression is aggressive. To keep the video stream small, it starts throwing away parts of the image it thinks it can "rebuild" from preceding frames. MPEG2 was made to fit tremendous amounts of data into a small space, knowing it would be "played back" on older, fairly low quality televisions which would hide a "multitude of evils" by being too low resolution to really spot the artifacts of the compression.
Much has changed since HDTV took over. However, the darling media of HDTV is Blu-ray. Blu-ray uses H.264 BD format which is basically, MPEG-2 on steroids. Although the format does rival the high resolutions of your original movie film, the partial frame and highly compressed characteristics of the format make is almost worthless to edit. Therefore, the format fails as an "archive worthy" format -- as does MPEG-2, for the same reason.
Why? An "archive worthy" format is used for many things -- other than to watch on your HDTV. It is used to capture photos. It can be resized for Webcasting on YouTube, and resized for use on iPhone type devices, and many other devices. It will be transported over networks and used on both PC and Mac computers -- to further manipulate and enhance and colorize the images -- and then narrate them, with different background music. One day it will be transcoded into 3D video and, maybe, even in holographic applications. MPEG-2 and H.264 formats will not "go the distance".
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So, the first frame of your movie film - of your grandmother - is whole but
compressed like a web JPEG image. Good quality if properly done. Now, let's talk about the second, third, etc., frames (of your grandmother). All subsequent frames (of your grandmother) are only "partial frames" (of your grandmother's eye blinking and teeth and gums smiling). This Dirty Little Trade Secret™ becomes more shady, because what they, the transfer mills, don't tell you is ALL duplicate frames (of your grandmother) are effectively thrown away. Not much left of your "original movie film resolution"? Why do you think they call MPEG2 compression "lossy"? Details about MPEG2 compression and DVDs can be found in the tutorial. |
Dirty Little Trade Secret™ #5:
DVDs and Blu-ray can NOT be copied to other "digital formats' without "digital artifacts".
Transfer mills let you think that because DVD and Blu-ray are "digital" they can be transferred to other digital formats without loss. BIG WHOPPING WHOPPER LIE.
MPEG2 and H.254 compression means you've already lost much of your original movie film - making the transition to another media can make that loss worse!
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In the previous Dirty Little Trade Secret™, you learned
that DVD MPEG2 format throws out "every other 'little line'" of EVERY
picture of your original movie film (of your grandmother); and DVD MPEG2
format throws out EVERY duplicate frame (of your grandmother); and DVD
MPEG2 throws out every thing but the essentials of all partial frames
(of your grandmother). Transfer mills would like you to believe that a video CODEC (Coder/Decoder) will magically re-create everything -- that was thrown away -- into something that rivals your original movie film? Dream on! If you try to convert, "up-res" (not just copy) your DVD to a Blu-ray, what will actually happen is the video CODEC will manufacture 'filler" for EVERYTHING that is "miss-matched" or 'missing" to the HD format. This "filler" is called a digital artifact. If you ever sat too close to the screen at the movie theater, then you "get the picture" -- that is to say, you do NOT get all the picture. If you have ever tried to enlarge a newspaper picture on a copy machine, then you "get the picture" -- or NOT! If you have ever tried to digitally enlarge a still photograph -- beyond the size of its actual pixels -- then you "get the picture" -- little square digital blocks, all over every thing. If you have ever tired to "zoom in" into a picture on your computer "too much", then you "get the picture" - the same kind of picture you will get from trying to "enlarge", "zoom", or otherwise "convert" a DVD MPEG2 into a "high resolution" digital video format. Still want your 8mm and Super 8 movie film transferred directly to DVDs? |
Dirty Little Trade Secret™ #6:
"You can edit MPEG2" (DVDs) - but, "not exactly".
There are many software packages out there that let you edit MPEG2 compressed video. Each will warn you about the consequences of "cutting" the video stream anywhere but on a key frame. When it comes to getting the highest possible quality out of your editing efforts, you can edit MPEG... but why would you want to -- if you had the option to work with a video format that was the near equivalent of the original movie film -- frame for frame.
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You can "edit" using the MPEG2 format. There are a few little problems
however...
In summary, edited MPEG2 files (DVDs) have introduced both old analogue
'generation loss" and a new kind of digital "generation loss" into video
(of your grandmother); You say you want to edit Blu-ray H.264 BD. Forget it. It is like trying to edit MPEG2 -- on steroids. Some editor software -- like Final Cut Pro -- will not even load the format. |
Dirty Little Trade Secret™ #7:
You need a "full frame", "high resolution" digital master -- and a backup.
Let me say it another way: You need a "full frame", "high resolution" digital master that:
- Rivals your Original movie film (of Grandmother) with "near equivalent" Digital Images (of Grandmother); and,
- Allows you to migrate Original movie film Images (of Grandmother) to 'high resolution" video formats now and in the future; and,
- Allows you to edit and narrate your original movie film images (of Grandmother) - to preserve her memory and yours.
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Your movie film is high resolution now. There's no reason to step back from
that and accept a lower resolution digital "copy". The purpose of a digital transfer is to preserve those images and to expand your ability to view and make use of them. Any transfer worth your money will:
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Dirty Little Trade Secret™ #8:
Most Telecine Methods are VHS quality; NOT High Resolution
The telecine transfer method used to perform your small gauge - 8mm, Super 8, and 16mm - movie film transfer may sound great at first blush.
However, beware of yet another "Dirty Little Trade Secret™". Most telecine methods were developed before the digital age and target problems inherent to older "analogue (composite) video". Much advertising today promotes technology of the past. The Dirty Little Trade Secret™ is, if you use old technology for a movie film to video transfer, you will in fact get "the same old quality" of old technology.
If you use their older technology, then you get inferior quality for the same price you might otherwise pay for a superior quality. I know, I am in the business. I have literally put very expensive, old equipment in the dumpster - knowing it had great "sales hype" but no "high resolution merit".
We use aerial scanner methods, when they are well matched to the
movie film; but we reserve the right to switch to other methods that have
advantages over scanning methods.
For example, movie film with deep scratches scanners with the image having
bright white streaks. We have a alternate method that will capture that
same movie film with the scratches turning to neutral grey. This is "value
added" by "experience" -- that a machine, by itself, can not be expected
to identify, much less correct.
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For example, a small gauge, home movie transfer
using a "telecine projector" - a movie projector with a built-in camera
- uses old analogue, composite video signals. We, the public and the
video industry, now regard "composite video" as a "low grade". There
never was a small format movie film "telecine projector" made, that had
anything but "composite video out" (VHS quality). Yet the internet is
filled with "transfer mills", that "hype or hide" their use of these old
telecine projectors -- calling them digital scanners -- because they
plug the composite out RCA jack into a capture card, which digitizes the
garbage coming out of the backside of their "scanner". What transfer mills "hide" is the Dirty Little Trade Secret™ that any resulting movie film to tape transfer from an old, small gauge telecine projector would be the near-equivalent quality of an old VHS tape. Yet that's what they use to make their single-layer DVDs. It does not matter that they dup that same video signal onto a high resolution MiniDV tape after the fact -- or during the fact (as a synchronous product). Their video quality is still only VHS quality - which is to say, only single Layer DVD-R quality; Ok, not exactly, but close enough. "Garbage in; garbage out." Adding insult to injury, if a transfer mill "dups" (duplicates) a VHS or DVD quality video onto a MiniDV, then they "dupe" you as well - making you think, in error, that you have a "digital master". They call it, "a MiniDV copy" and usually offer it as an "add-on". This is akin to the "Blu-ray Scam" -- copying a DVD to a Blu-ray disc -- and charging HD prices for it. When you want to transfer 8mm movie film to DVD, the Dirty Little Trade Secrets™ you don't know, really will hurt you -- and all generations of your family, and your movie film. |
Dirty Little Trade Secret™ #9:
Telecine Projector - VS - Telecine Transfer
The term "telecine transfer" (not to be confused with "telecine projector") is a good, legitimate movie film to video transfer term, which simply means, the frame rate of your 8mm movie film, super 8 movie film, or 16mm movie film is synchronized with NTSC video frame rates of your TV set -- without a flicker.
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Transfer mills want you to think that you can NOT get a "telecine
transfer" without using a "telecine projector". The truth is, there are
many ways to get a "telecine transfer" without using a "telecine
projector". We ditched some "telecine projectors" years ago
-- because their output was composite video -- and because the built-in
cameras did not have 3-chip technology to achieve Digital Video (DV)
standards. Confused? You should be. You have not read my tutorial yet. Read on! Concerned? You really should be. If you make a decision right now, without reading my tutorial, then your odds of making the wrong decision are very good. At this moment, you would be taking a "wild shot in the dark" - with a lot of money - say nothing of risking the future longevity and integrity of your home movies. |
In summary:
The concept of transferring "movie film to DVD or
Blu-ray" should include a fundamental
steps of
1) creating a Digital Video (DV) Master Archive ™ first,
2) creating DVD Virtual Movie Discs ™ and then
3) creating a Blu-ray Virtual Movie Discs ™.
Then
- and only
then - should "physical copies" be "burned" onto view only
media like
4) DVD Playable Disc ™ and
5) HDTV Blu-ray Playable Disc ™ - for viewing purposes.
Last, but not least, a
Hard Drive
Master Archive and Virtual Movie Disc Archives ™ should be made, as a
backup, for
-- a copy of Digital Video (DV) Master Archive Set ™
-- a copy of Virtual Movie Disc ™ Sets - Blu-ray and DVD.
You now know, "writable" DVDs -- DVD-R/+R -- and "writable" Blu-ray Disc -- which all of us use -- do not last more that 2 to 5 years before they start to deteriorate.
| Example of our video and music. |
 Click on the QuickTime
button
to download a free copy of QuickTime. It is an nice tool to add your computer for viewing video. |
Please note the idea of creating a Digital Video (DV) Master Archive does NOT hold true of other websites which in talk about MiniDV tapes -- as an option product. The true Dirty Little Trade Secret™ is that most transfer mills
- Eliminate the Digital Video (DV) Master Archive altogether or
- Offer a MiniDV tape as an "Option or Add-on" which is actually a pseudo-master.
- Made from an inferior format, like MPG2 or VHS, and transcoded onto a MiniDV or
- Made by synchronously producing "a MiniDV master" as a by-product of a DVD-R in MPEG2.
It is important for you to know why we are qualified to expose the
Dirty Little
Trade Secrets!™
of our own industry.
HIGHLIGHTS OF OUR HISTORY AND OUR LEVEL OF ACCOMPLISHMENTS
We have produced transfers for PBS and for other national broadcasts -- both directly and as subcontractors for private investors in those productions.
We have worked with
some of the oldest movie films in the US and with movie films that can
only be termed
“National Treasures” -- a few of them "Legendary" -- as
follow:
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Some of our more recent work – National Archives of both the US and England (8mm) -- was previously "declassified" footage "of interest" by the US Defense Department and Scotland Yard -- for national security. This historical footage is being studied, frame-by-frame, by 2 major universities. We have produced historical films for countless cities and towns, fire departments, football teams, State and Federal government archives, hundreds of hours on Vietnam, declassified ballistic missile test on high speed film There is only marginal utility in going on and on with this list. You get my drift -- we have earned our right to stand on our own merit. TECHNICAL ACCOMPLISHMENTS: We have proven the quality of our studio with many "unsung" triumphs -- but Rail Road films are a good example. Rail Road Films (8 and 16mm): For the "technocrats" of our craft -- commercial clients -- I must mention "rail road films" -- which for the accomplished studio -- is a subject of respect., Due to their level of difficulty, vintage Rail Road (RR) films are an infamous film transfer challenge. Most studios fail in their attempts to successfully transfer RR films -- to the true satisfaction of RR enthusiasts and RR museums. Over a third of the "redo" work from other studios, over the years, have been RR films. Many RR enthusiasts have told me that they had tried 2 to 3 times to get "a good transfer" before finally finding our service. Trains are "big black objects" many times shot in stark contrast to "bright backgrounds" creating a silhouette. Many times they are moving "at you" at "high speeds". Then, there is the problem of 'blow out" in the "bright backgrounds" or surrounding landscape. Preserving "the detail" in both the highlights and lowlights in such film images requires team effort across several disciplines. Our success with RR films, has earned us respect and referrals among RR film enthusiasts. |
SINCE WE HAVE "REDONE" THEIR DIRTY LITTLE WORK -- WE KNOW THEIR DIRTY LITTLE SECRETS!
HOW WE LEARNED THE "LITTLE SECRETS": Realizing much of the equipment adapted from the "large format" film transfer industry is ill-suited for "small format film", we literally "trashed" much of the equipment that most companies now brag about using. We were forced into creative testing -- trial and error -- invention and re-invention -- driven by integrity -- until we "got it right".
We learned the "right way, the hard way"; but we did not know "the dirty way".
HOW WE LEARNED "THE DIRTY": Until we got into 'redoing" the work of "other studios" -- for domestic clients -- we did NOT realize that there is a side of the film transfer industry -- the domestic market -- that does NOT strive for "high commercial integrity", but rather strive with "intent" that, in my opinion, "is criminal".
OUR BUSINESS MODEL-- VERY IMPORTANT:
Dirty Little Trade Secrets are NOT revealed by only a technology or technique used, but also by the "business model" that a company uses. We can only disclose our business model as a "leader in the industry", and let you contrast our "business model" within the context of Dirty Little Trade Secrets you are about to read about.
"WE ARE A REFLECTION OF OUR CLIENTS"
Just as you seek the highest level of service, we seek the highest level
of client.
We believe that clients and companies -- of the same level of integrity --
seek each other out.
With a “Thankful” heart, the following is our integrity level:
Find out: Why
we never needed to do "test reels".
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We have already "proven ourselves" (see above) with some of the oldest and the most valuable, “legendary” films in the world -- produced for national broadcasters and private investors. Because we have achieved this level of success and quality, demand for our services is usually sold 3 to 5 months in advance -- from clients who feel our quality is worth waiting for. And, we have been sold in advance for over 10 years, now. We produce a "branded product" that both I and our staff are proud to "put our names on". My name on a product, over the years, has become a Trademark of Quality. We do not perform third-party domestic transfers -- knowingly; however, other studios sometimes pretend to be a client, pay "retail prices", then stripping off our graphics and replacing them with their studio name -- and resell our work as their own. I guess this is a compliment -- of sorts. Clients have actually used our service to "get their money back" from other studios -- who (used to) offer a money back guarantee IF AND ONLY IF another studio could redo the same film "better". Having basically "paid for their project twice", whether of not they ever got their "money back"-- none of these "redo clients" ever asked us for their money back, and, to date, are among some of our most gracious clients. Through this "redo" process, over the years, we have become familiar with the work of many major transfer companies that surprised -- and disappointed -- even us. Thus the need for Dirty Little Trade Secrets™. Since we have "redone" their dirty little work -- we know their dirty little secrets! As for our own work, we must decline many requests for quotes once we have reached 5 to 6 month mark in advanced sales. Due to demand, we simply do not have a need to do "test reels" for domestic clients; and due to our reputation, our new commercial clients do not ask for 'test reels". Ironically, the integrity of our "business model" is in fact -- "like" a continuous stream of "test reels" -- backed with a money back guarantee!
Our business model – has always
protected our clients by Despite our longer delivery times (because of our multi-pass methods) and our higher prices (compared to the "same-day transfer mills"), the most ardent critic must conclude the quality of our work is reflected in our clients’ pleasure. After waiting for our work, after approving each stage of our work, and then, after paying for our work -- in stages -- no client has ever request their “money back” -- something we have always put in writing. These criteria are sufficient to attract "the level" of clients – in both quality and quantity -- that I enjoy “working with”. At this time, we are accepting new clients and their projects. We invite you to entertain the idea of adding your project to our list of accomplishments and clients -- by requesting a price quote for your project. We also invite you to read our unsolicited testimonials. Most people take several days to read this site. Getting your request for a price "out of the way" now, you may have a quote by the time you finish "absorbing" what is being said, and you can be ready for your quote -- with "informed questions" for me -- knowing the price of your project. Upon your request for a price quote, I will be sending you a quote assuming in good faith that, as our client, you are a good match for the level of our accomplishments. We hope, we may have “the pleasure” of serving you – to an end – we are confident – will be your pleasure, too. |
THE LEADER
IN THE SMALL FORMAT MOVIE FILM TRANSFER INDUSTRY:
We are not just a “movie film transfer” studio. "Film transfer" is only a minor step in our multi-step service.
We are multi-disciplined specialists in
1) Small Format Antique
Movie Film Repair, and
2) Digital Transfer of Antique and Damaged Movie Films, and
3) Post-Production Digital Restoration and
4) Post-Production Digital Enhancement and Re-colorization, and
5) Digital Format Transcoding, and
6) Physical Media and Virtual Packaging, and
7) Mass Media Distribution & Webcasting.
Perfection in first stage is amplified by perfection in successive stages – making our final product “better than the original”. Over-riding a “state-of-the-art” machine with “knowledge-of-the-art”, is known as “value-added judgment”. This “value-added judgment” is what a jet pilot brings to a state-of-the-art jet -- that can literally fly itself – until it is disabled by a flock of geese and forced to land in a river.
Answers about equipment and techniques we
use --
that put us in a "different League".
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We prep your movie film, then capture it digitally, then enhance the images, and then re-color the images in your movie film – in a work flow from one technology to another – getting to know your movie film -- “what it is” -- but also knowing -- “what it can be”. We actually have "meetings" about your film - passing on information and production notes about the previous stage -- so that the next stage will be "the best it can be". This “value-added” – or added value – added stage by stage -- to the exceptions and problems in your very old and very worn original images, is the reason I can guarantee your final product will be BETTER THAN YOUR ORIGINAL MOVIE FILM – better than what ANY "competitor's" single-pass machine – run by someone living -- to punch-out for a break, lunch, and the end of a boring day.
Baseball as an Analogy for Quality:
Regarding equipment,
in a "Major League"
Service, we offer "Client-Film Centered Services" -- where WE
make the call on what is best for the client's film -- ONLY
AFTER we see the film.. Our clients are only interested in "home
runs" -- WITH THEIR FILM -- not "the bats we use"
to hit the ball. Reading the
film -- the film itself -- dictates what machine or process
should be used.
Little League "armchair" clients -- read equipment reviews -- of "Little League" transfer "mills", to determine the "best equipment" for their film -- when in fact, they can not even determine what gauge their film is, if their film has "vinegar syndrome" or not, if it is even "SOUND FILM" or not. They have no clue as to what shrinkage their family films have after 50 years, much less 70 years, nor the degree of "projector burn" the surface of the film may have developed. They have no clue as to whether the splices in their film are "tape" or "press tape" or "glue" or "hot glue" or "abutted" or "overlapped" -- say nothing of having a clue as to "how tired" the splices in their film are. These clients are NOT in our league.
"Little League" services are
"Equipment Centered Services". One size fits all -- in one pass --
on their "magic machine". They sell "levels of "consumption"
-- with "de-grades" or "up-graded" -- in "favors" or "colors" --
assuming "all film is the same". They believe1927 film has the
same needs as 1972 film. No matter what is actually "best" for the
film. We redo "little league" -- "equipment centered" work -- all the
time.
SINCE WE "REDO" THEIR DIRTY LITTLE WORK -- WE KNOW THEIR DIRTY LITTLE SECRETS! For example, any company bragging their equipment offers "pull-down patterns" are actually warning the public that they have adapted a piece of equipment from the "large format" movie film industry -- which (they do not tell you) will introduce "judder" (irregular extra frames) into a "synchronized" "scanned" image. We trashed that technology -- long ago -- when we realized, both in theory and practice, "NO PULL-DOWN PATTERN" IS APPROPRIATE FOR ANY SMALL FORMAT FILM -- originally shot slower than 24fps. More later. MAJOR LEAGUE WORK: We have "the technology" -- to capture "the grain" ON "the grain" in film -- and it works great on new, or "like new" film; however, many "scanning methods" also give you "raw light" though the scratches in old film. (Do you have scratches in your film?) With "OLD FILM" we must adapt -- or even switch scanning -- methods -- to alter the "raw white light" into "neutral grey light". That is just one "little" difference in our service. We do not hold ourselves, or client interests -- their film -- captive to a sales pitch -- or a piece of equipment. We are NOT in that "League" of service. Our League is "Client-Film Centered Service". Most companies, who would elevate their image by calling themselves, “our competitors”, simply are not in our "League". Ours is the league of “hard work”, “long hours”, and “commitment” to exceed "our own personal best". In our League, the argument for quality, "my bat is bigger and thus better than your bat", is the argument of "little league". That “we lead” and “they follow”, is our quiet pride at the end of a day’s work. THIS IS OUR "SALES PITCH" -- TO ATTRACT THE LEVEL OF CLIENT WE SEEK: As part of our list of accomplishments, we are equally proud to have preserved images - of the American Family. Yes, we have done “private work” for families whose names are internationally recognized; but we treat our domestic clients' home movie film as no less valuable than any of the above. In truth, your films are an important part of a much larger story of "the extraordinary" -- the ordinary men and women and children -- of this, our, great nation of families -- who have repeatedly risen to the challenge -- to become the unsung heroes -- of every war and peace and economic tribulation and natural disaster: AND YOUR FILMS are PART of the uncensored record of what really happened during the Golden Age of America; and YOUR PART -- your "life and times" -- deserve PRESERVATION for YOUR future generations to likewise say, "This is PART of who I am!" Because of "our" guarantee, our “added value” (see below) and the way we do business, we routinely have pre-sales roughly 3 to 5 months in advance -- from clients who feel our quality is worth waiting for. Proof of their satisfaction is their many letters of thanks; repeat business, referrals -- and, the one letter we have NOT received -- for all my years in business – a letter asking for a refund. This honor, given to us from clients past, is the foundation of our commitment to you and your movie films. This honor – something freely given to us -- something money can not buy -- is the only requirement for true "competitors" to be “in our league” -- and thereby welcomed. This honor is "our" true honor -- to serve you, too. If your heart can swell with pride, knowing you are in the company of so many of our clients like yourself, then we invite you to join our League of Clients. |
To arm yourself with pertinent knowledge, please read through the tutorial.
You can also
contact us
for a price quote or to ask questions.
