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 above 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 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, 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 & 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
|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
|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 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.
attention to detail,
sharp images, and
- Chris H,
"Thank you for
reminding me of
the 'good old
- Lisa G.
|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
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
|What does this all mean to me?
All film that we transfer is scanned on
highly modified Ultra-High Definition
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 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
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.
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.
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.
These scanners are running the latest 2016 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 scanner resolution 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.