The MetaSpeed Digital Servo System controls film speed
and scanning size perfectly. It is simply the best in the
world.  Note that film speed is accurate to .001 seconds!
Cropped Image directly from scanner
to show level of scanning detail.
The image to the left shows how the film is scanned.  The entire frame is visible, along with frame lines and
sprocket holes. This is important since the frame size on your film can vary based on the variation of gate size of
your camera. We deliver the maximum amount of the picture based on the image size of your film. The sprocket
holes and frame lines are removed before the film is delivered to the client.  

This means you can see more of your movies and more of your picture is brought to life during scanning. Other
transfer methods may crop out a significant portion of the original film image.

The film's speed is regulated by the MetaSpeed Digital Servo System. This system is quite simply the best in the
world.  It maintains film speed with accuracy of .001 second. Any film speed is possible.

There is no hot projector bulb in the machine, and there is no starting and stopping film on each frame like a
projector. Your film will scan with perfect continuous movement. Just like the physical movement of video or audio
tape.  

Even bad splices run through without damage.  There is no pressure plate that can scratch your film - a constant
risk with film projectors and frame by frame machines.. And with our optics, we have brought the machines to the
cutting edge of film scanning.

In the image below the yellow squares point out detail that would not be visible in competitor scans. This film frame
is from 8mm film that was scanned at 3K for 1080p output and then substantially cropped for the website to show
the fine level of detail that is possible with our custom scanners.

This level of film scanning quality has never been available before to the average consumer.
Here you can see that we can scan the entire film frame.

We have designed & manufactured optical film gates to
achieve this.  Our High Definition Optics allow us to
zoom in on the images.  Film edges & sprocket holes
will not be present in your transfer
Our Ultra-High Definition Rank Cintel Telecine Scanners are
modified with custom-designed state-of-the-art optics
Our high dynamic imaging sensor allows us to capture the full spectrum of
color. This means that the faces of the people under the shadow of the
street car can still be seen in detail, even as we capture the brilliant red and
yellow tones of the streetcar itself.
The ProRes 4:2:2 .mov format provides easy to use files with visibly lossless compression.  This means that the
beautiful details the we captured while transferring your film aren't lost once we record to your hard drive.
It means that you can be confident that we are getting the most out of your film.

Our goal in integrating these elements into our transfer method is to make the
highest quality images possible.  

With our transfer service, your images will have improved sharpness without
distortion, with sophisticated grain and noise reduction.  

Your pictures will have no or very minimal crushed blacks or clipped whites,
and they will have vibrant color saturation when possible.  

We aim to create transfers that are archive-quality that will stand the test of time
and that will hold up when viewed on large High Definition TVs and monitors.  
  
"Incredibly quick
turnaround, obvious
attention to detail,
sharp images, and
unerringly precise
work."
- Chris H,
Chicago, IL
"Thank you for
reminding me of
the 'good old
days.'"
- Lisa G.
East Taunton, MA
In this picture you can easily see the film grain. This is not a bad thing. Film grain is the basic structure of film.  It is what gives film texture.
When you can see individual film grain, scanning is at, or above, the maximum resolution of the film.
How do we scan your film?
Questions? Email or Call 1-800-865-7172
Our DVDs and Blu-rays are REGION FREE
an will play on
computers in any country.

Customers outside North America will need
DVD's and Blu-rays formatted to PAL frame
rates to play on their domestic
DVD players.
What are the benefits to scanning with MyMovieTransfer.com?
What does this all mean to me?
THE BASICS

All film that we transfer is scanned on highly-modified
Ultra-High Definition Rank-Cintel scanners.

These scanners are running the latest 2014 software, have
new German optical components, and a new state of the art
imaging block operating a resolution that greatly exceeds
your film's resolution
. The resolution of the scanner has
been increased by 2400% from it's original design!

These are the same machines that Hollywood has trusted
with their features, and we use them on your priceless films.

All film is monitored by our highly skilled colorists.  Where
some companies charge a premium for a colorists-
monitored scan, we know this should be included.  

The colorist will adjust for color and brightness to ensure
that we are getting the most out of your films.
HIGH DEFINITION OPTICS

Developed in-house, our High Definition Optics are yet another addition to our defining superior edge over other transfer sites.

Our optics exceed the resolution of even the best 8mm or 16mm films. This is important because the 8mm Film is so small. For
example, a 64-inch television screen is 68,000 times larger than an individual 8mm Film frame. Any optical errors, produced
through other methods, will be multiplied, taking away from the quality of your pictures. With our method, you can be
confident that the films we transfer for you will be as good as possible.

When we transfer film, we scan the entire film frame. We then center the image to ensure that sprocket holes and frame lines
will not be seen in the finished project. We are able to do this with our High Definition Optics and our custom designed film
gates. This allows us to see problems with your film outside of the active image area and take corrective action. For example
we can see the condition of damaged sprocket holes as we scan. We can also determine if a hair is on the film or was in the
original camera as we scan.
OVERSAMPLING:

Oversampling is at the core to our scanning process.  Depending on your film format,
we scan anywhere from 2-6 times higher resolution than 1080p – and down-convert
within the scanner to your desired resolution.  This creates a better image that looks
truer to the original film.

So oversampling initially captures 2-6 times higher resolution images than just
scanning at 1080p.  While the film is at this much higher resolution color correction is
performed by one of our experienced colorists. This color correction also benefits
from the initial higher resolution and uncompressed data at this point.  

Shrinking the larger original will have more inherent quality then simply duplicating a
picture of the same size. This is the same principle that occurs when a larger image is
reduced to a smaller one on a computer screen. Often times the smaller image simply
looks better.

So where other companies might scan in 1080p High Definition – or worse, they might
up-convert from a lower resolution – we scan at a much higher resolution and pass
those benefits on to you.
GREATER DYNAMIC RANGE

Any given frame will contain a multitude of colors, from the
darkest blacks to the brightest white.  We refer to the
spectrum of color and brightness as dynamic range.  

Scanning film usually means sacrificing one end of the
spectrum for the other.  For example, if a colorist is
scanning a 16mm scene involving two people - one in the
bright sun and the other under the shade of a tree – he or
she will have to chose which person to transfer with full
detail.

By scanning with our extremely high dynamic imaging
sensor, we eliminate that choice.  Both people in the scene
will be transferred as they are in the film.  The details that
are captured on the film – the nuances of a person's face,
their hair, their clothes – will be transferred.  This is the
same for color.  Our imaging sensor allows us to recreate
the colors that remain true to how they were shot.


It is important to understand that original photography and
film condition also play an important role in your film
transfer. Simply stated, better film in, better film out.  All
scenes go through brightness and gamma correction.  
Color correction is not scene by scene at this price point.
SMARTER COMPRESSION

High Definition video in its raw form produces extremely large very difficult to work with files.  Massive amounts of storage are
necessary to hold raw HD video files, and even a very expensive computer with high processing speeds would struggle to play it
back.  HD video must therefore undergo a process called compression.  Compressing video essentially means shrinking data without
removing the image content of a file.  This is why you can take a video file that takes up 40GB on a hard drive and record it to a DVD
that can only hold 4GB.

Not all compression is of equal quality.

A video can be compressed in several ways.  One of the ways is by reducing the quality of the image.  This type of compression is
referred to as “lossy.” When put to a split screen, the lossy compressed file is easily distinguished from the uncompressed file.  The
compressed file is peppered with visual defects.  We avoid these methods by converting your films to ProRes 4:2:2 .mov files.  Our
compression is visually lossless, meaning the difference between the raw file and the compressed file is imperceptible.

ProRes 4:2:2 is simply a smarter format for video transfer.  The files have a large data rate without grinding your computer to a halt.
They also hold steady without degrading like most other file formats.  When you edit with other files by, say, adding titles, your editing
program will uncompress your video in order to add the title, and then re-compress your video.  With a lossy compressed file, this
means an image that is already defective will be taken apart only to have its quality lowered again when it is put back together.  A useful
analogy would be to imagine making a photocopy.  The first photocopy might have unwanted black spots or uneven shading.  If you
make another duplicate from that photocopy, the result will look even further from the original.  You can see this in video if you look at a
low quality streaming video.  Videos that occasionally have large, block-like pixels have been uncompressed and re-compressed
several times over.  

ProRes files, on the other hand, were designed to maintain image quality over at least 9 generations of compression.  They will have a
much smaller initial quality dip once re-compressed for the first time.  After that first recompression, their quality will remain unchanged
as you re-compress them, meaning they will look substantially better when recorded to DVD or Blu-Ray, or loaded on YouTube or
Vimeo.
ZERO PULLDOWN

Film and video playback in different ways.  

Back when your film was shot, the camera operator had the option of recording at 16
frames per second, 18 fps, or 24 fps, all video must playback at 30 or 60 fps.  In order to
accommodate video playback, additional film frames are created to playback in 30 or
60 fps.  Since 18 frames don't convert evenly into 30 frames, the added frames are
interspersed sporadically. These added frames should only be added in the last step
of playback or DVD/BluRay creation. The extra frames should not be added in the film
transfer.

If you go to alter the film's playback at all by speeding it up or slowing it down, the film
will not play evenly.

Our files have no pulldown added.  This means that you can adjust the speed without
altering playback. It also means that your files won't contain unnecessary data from
artificially created redundant frames, so your files will be smaller and easier to work
with without any loss of visual quality.

Zero pulldown means that there is a perfect 1 film frame to one electronic frame
relationship on the recorded digital file.