8mm and 16mm High Definition Transfer Frame by Frame
Virginia | Maryland | DC
8mm, Super 8, and 16mm Movie Film "Frame by Frame" to stunning 1080P Resolution.
offers customers in Virginia, DC, and Maryland a new way to relive their
old 8mm, and 16mm movie film memories by converting them to High Defnition in stunning 1080P. Large
amounts of 8mm, Super 8mm & 16mm are sitting in a dark corner in many
homes. Some of this film can date back as early as the 1930’s. These
reels tend to carry plenty of cherished memories for many families, but
because this film requires special projectors and an area to display this
film, some of this film hasn't been seen for several years. Transferring
your 8mm and 16mm movie film to DVD or to High Definition in stunning 1080P is a great way to preserve memories
and pass onto future generations while the film can still be transferred.
See how easy it is to navigate to important scenes once on DVD. Plus we
can add titles, music, and custom chapters to your DVD. Also customers
can make multiple copies of the DVD, and each DVD copy will look exactly
the same. There is no loss in quality.
The 8mm, 16mm to DVD process is safe and now also offering High Definition in stunning 1080P. The
process does not damage your originals. Once each frame is captured frame
by frame by our DV-8 Pro HD, your movie film is returned back to you, along
with your video content preserved on DVD.
How it Works
Frame by frame
Is a system that transports film one frame at a time, long enough to digitize the image to hard drive as a single High Definition 1080P AVI image file, each frame is advanced and the image captured and rendered as a single frame of video data. When the many thousands of frames have been caputred on hard drive a software package is used to assemble all those many thousands of video frames into a motion video you can watch on your TV.
Because our system is so powerful we can assemble those thousands of single images on our multi cpu dedicated video editing workstations that use 10000 rpm RAID "0" arrays to handle absoloutley any task with precision accuracy without a single frame drop which most ordinary PC's just can not even hope to get close to and is another reason why projected methods are cheap because you can use an ordinary PC to capture streaming motion but not thousands of indiviual frames.
Our system means we can alter the running speed of the finished video from 15/16 frame per second 18 fps and 24 fps with dead certain accuracy.This means that your DVD video of the film will run smoothly and appear to run at the right speed, whereas, projection methods are forced to synchronize at a particular speed to reduce filcker and the result can look most unnatural, frame by frame is frane rate accurate and uses no tricks in editing to achieve greater sharpness and claritty than any projected method can possibly come close to due to frame discrimination of frame by frame there is no motion blur at all.
Image Frame Size
By the very nature of projectors you will lose 25% of image size due to a mask of the film gate to cover the sprocket holes of the film and also the other edge of the film is coverd to keep the film close as the claw that advances the film needs the film held very tightly in order to avoid tearing the sprocket holes.
Projectors also vary with halogen lamp strength that varies from 50 watts to 250 watts and more, all of which are extremely hot and can actually cause bleaching and fading of your films. Films that jam up or stop in the film gate will burn and you may have seen films with burn holes. Our system does not use halogen lights or hot globes, in fact our light source is very low energy and is no where near the film as there is a light path via indirect low intensity light source that can not harm the film or bleach it since it is not even near the film.
Since there is no film gate pressure plate as such the entire frame of film is visible including the sprocket hole so we can include the very edge of the film itself.
The finsished product of course does not show the sprocket hole as you don't want or need that in your DVD video.
100% Flicker Free Iron Clad Guarrantee
Others claim it we guarantee ours is 100% filcker free, no if's, but or maybe.
Since we have total control over the entire process we can tell you with certainty that our methods are exact and precise only becasue our method is 100 % frame by frame and each frame of film has it's own full frame of video data.
Make no mistake about this
We know there are very few providers that can offer this process, so be aware of what you are paying for and not getting.
Quality - Broadcast - DVD resolution
Unlike other transfer units that crop the image and shoot off the softer, base side of the film with a standard definition 1CCD camera limited to about 490 lines, the Sniper-HD scans off the sharper, emulsion side of the film at full 1080p using a CMOS hi-definition sensor containing almost 3 million pixels for maximum clarity. There is no major cropping and because we can capture the whole frame you get to see up to 25% more image and this is so important for Standard 8 mm film as the image is so tiny to begin with, lose 25% image surface area and you will have a very grainy and unsharp film transfer as evidenced by any projection method. Frame by Frame gives you more image than any projector based method.
Frame by frame is as smooth as you can get.
• No film wobble
• Frame accurate
• Up to 25% more image area.
• No screen involved
• Speed accurate
• Better color
• Natural skin tones
• better contrast and clarity
• No hot spots from halogen lamps
• even light, no vignette or dark fall off
• No heat involved
• Smooth vision flow
• 100% Flicker free Guarantee
• Bigger brighter and sharper than any projection method.
Why frame by frame costs more than projection methods
• Needs expensive high power computing solutions
• Computer high speed 10000 rpm RAID systems are needed
• Time and labour intensive
• Takes so much longer than projection
• Image assembly time and collate speed time of processing
• Quality assurance.
Why projection methods are so cheap.
• use low end equipment you could use yourself
• Any PC with a P3 cpu and 7200 rpm single hard drive works
• cheap light box or screen
• Poor image quality
• loss of image size due to film gate loss
• further loss of image due to excessive cropping
• Many use old VHS or Video 8 200 line resoloution video cameras
• Hot spots or seriously bright in the middle due to uneven hot lighting
• Excessive grian and fuzzy image due to plastic screens or projecting on walls
• Some even use domestic DVD recorders
• DVD's do not have to be high quality because the film transfer is lousy to begin with
• Lacks professionalism
• Really fast turnaround as the methods do not involve accuracy or care.
should last forever
they're on videotapes (Hi-8, VHS, etc.), they can start to disappear in only ten
years! Videotape, even digital video tape, actually degrades over time
- erasing your life's most precious moments. If the customer wants we
can transfer your 8mm or 16mm to Kodaks 300 year archival DVD. The Kodak
Gold DVDs has a special gold coating to protect your 8mm or 16mm to DVD
movies from corrosion.
last a lifetime...
Be certain your memories are safe. Let
us transfer your home 8mm, 16mm to DVD and now also available in High Definition in stunning 1080P. This way, your memories will be
preserved for generations! Best of all, the quality won't fade: You'll
enjoy all the color, sharpness, and audio of your original with every
you have any questions please call our toll free number 1-800-683-8171
or ask the owner email@example.com. Our business
hours are Monday - Friday 9am - 7pm Sat 9am - 6pm Sunday 11am - 5pm. If
you would like to mail us your 8mm to DVD from Virginia, DC, and Maryland
please ship to 2958 Prince William Pkwy Woodbridge
Photo-60 DVD offers a free demo test transfer (you only pay for postage)
so you can see for yourself, no fluff, no hype or false promises. What you see is what you get.
movie film transfer sample
click here for 8mm and 16mm transfer pricing
8mm & Super 8mm History
The standard 8mm film format was developed by the Eastman
Kodak company during the Great Depression and released on the market in
1932 to create a home movie format that was less expensive than 16mm.
The film spools actually contain a 16 mm film with twice as many perforations
along each edge than normal 16mm film, which is only exposed along half
of its width. When the film reaches its end in the takeup spool, the camera
is opened and the spools in the camera are flipped and swapped (the design
of the spool hole ensures that this happens properly) and the same film
is exposed along the side of the film left unexposed on the first loading.
During processing, the film is split down the middle, resulting in two
lengths of 8 mm film, each with a single row of perforations along one
edge, thereby fitting four times as many frames in the same amount of
16 mm film. Because the spool was reversed after filming on one side to
allow filming on the other side the format was sometimes called Double
8. The frame size of regular 8 mm is 4.8 mm x 3.5 mm and 1m film contains
264 pictures. Normally Double8 is filmed at 16 frames per second.
Common length film spools allowed filming of about 3 minutes to 4.5 minutes
at 12, 15, 16 and 18 frames per second.
Kodak ceased selling standard 8 mm film in the early 1990s, but continued
to produce the film, which was sold via independent film stores. Black-and-white
8 mm film is still manufactured in the Czech Republic, and several companies
buy bulk quantities of 16 mm film to make regular 8 mm by re-perforating
the stock, cutting it into 25 foot (7.6 m) lengths, and collecting it
into special standard 8 mm spools which they then sell. Re-perforation
requires special equipment. Some specialists also produce super 8 mm film
from existing 16 mm, or even 35 mm film stock.
The story of practical "home movies" began in
1923. Although 35mm film had been the standard for theatrical releases
for decades, the large film was cumbersome, expensive, and dangerous due
to its flammable nature.
For years, the Eastman Kodak Company had worked to develop a system of
movie equipment and film that would be easy enough for the advanced amateur
photographer to use, yet reasonably affordable. The result was the Sixteen
Millimeter "Cine Kodak" Camera and the Kodascope Projector".
The camera itself weighed about seven pounds, and had to be handcranked
at two turns per second during filming. A tripod was included in the package,
all of which cost a whopping $335.00! And this in a time when a new Ford
automobile could be purchased for $550.00.
Thus, Home Movie Making was not an inexpensive hobby, but one that was
capable of exciting, high-quality results. By 1932, with America in the
throes of the Great Depression, a new format, the "Cine Kodak Eight",
was introduced. Utilizing a special 16mm film which had double the number
of perforations on both sides, the film maker would run the film through
the camera in one direction, then reload and expose the other side of
the film, the way an audio cassette is used today.
Since the 8 mm frame was one-quarter the size of "sixteen",
this method reduced by a factor of four the amount of film necessary to
give the same running time - four minutes - as a standard one-hundred-foot
length of 16 mm stock. After development, the laboratory would slit the
film lengthwise down the center, and splice one end to the other, yielding
fifty feet of finished 8 mm movies. The success of 8mm film was almost
immediate, and within about fifteen years, 16 mm film became almost exclusively
a format of the professional filmmaker. By the 1950's, 8 mm home movie
cameras were a common sight at family parties, special events and on vacations.
In the 1960's, research began on an improved system of home movie products
that would also have potential use in Audio-Visual Applications. Eastman
scientists sought to further simplify the movie-making process while improving
the quality of the pictures. Scientists were asked to create this new
product unencumbered by existing technology. Rather, some of the best
features from previous formats would be considered.
The concept of a cartridge-loading movie camera had been around since
1936, when it was introduced with the Cine-Kodak Magazine 16mm Camera.
This time, however, the film cartridges would be made of injection-molded
plastic, rather than metal, which required hand-manufacture and were subject
to jamming. The 8mm size was retained for reasons of economy, but with
several significant improvements:
Cartridge loading eliminated the threading of the film.No flipping of
the film load was required; the entire 50-foot cartridge could be shot
without interruption. Rather than manufacture both a "Daylight"
and a "Type-A" (Tungsten) form of the new film, each Super 8
Camera would have a built-in filter, making it possible to make only the
"Type A"" product, which could be used in either kind of
light. The perforations (sprocket holes) were reduced in size, allowing
for a wider image area that was about 50% larger than standard 8mm film.
Maximizing the film width was a concept that originated in France by Pathe,
with their 9.5mm camera system. The perforations were also moved to a
point adjacent to the center of the film frame, making steady registration
simpler. 16mm and standard 8mm formats had placed the perforation at the
corners of the frame to reduce fogging of the image at the head and tail
of the roll caused during loading of the film. Since Super 8 was a cartridge-loaded
product, this was no longer an issue. Virtually all Super 8 Cameras would
have built-in light meters, a feature dating back to the early 1950's
in 16mm and 1960 in 8mm cameras.
The cartridge itself provided information to the camera about the speed
(ASA) of the film inside and filter information in the case of black-and-white
products. Precision notches were set at specific points on the edge of
the cartridge, activating mechanical or electronic switches in most Super
8 Cameras. Most Super 8 Cameras were built with battery-powered motors,
eliminating the need to wind a spring-driven transport.
In April of 1965, this revolutionary new format was introduced, and while
the marketplace has changed in the past thirty years, new generations
of filmmakers with film projects and applications which were non-existent
in the 1960's have come to embrace the small film. Many of today's great
cinematographers and directors began their careers decades ago, at the
counter of their local photo shop, buying a cartridge of Super 8 film.
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