Pro8mm Tip of the Day: How to Pick a Place to Scan Your Super 8 Film

As I was working on updating my own VIMEO and You Tube Channels this weekend, I lost myself in the many great Super 8 films that people have posted. I found that I can spend endless hours just watching everyone’s stuff, and of course, since this is my profession, I am always curious about the cameras, film, processing and scanning workflow. Some of the DIY folks have produced some really good stuff. Great in fact. Filmmakers who enjoy the power of one, and have the time to maticulate over moving their super 8 film to digital can achieve a decent result, providing they understand how to minimize the dirt, and the film was lit correctly to begin with.

What I found somewhat interesting however was how many scans done at facilities are producing results that look so bad. In many cases, worse than the DIY telecine that filmmakers have done.

So here is a tip I hope you will use. Before you choose a place to scan your super 8 film, go to YouTube and Vimeo to see what kind of quality a scanning facility can offer. Most companies now have samples of their stuff up there, or their clients have tagged what facility did the scan. Check out as many as you can find. You will be amazed at the range of what you see.

As I looked at all of my competitors stuff, as is human nature to do, it validated for me the differential between the quality of the scans that we provide far exceeds the differential in the price. One more thing…don’t be fooled by “fake” HD. HD is a native 1080 scan that comes directly off the scanner, not an SD telecine scan that is up rezzed in a computer.

Check it out for yourself.

www.pro8mm.com © Phil Vigeant, Pro8mm 2009

Why You Should Not Transfer Your Home Movies To DVD

WHY YOU SHOULD NOT TRANSFER YOUR HOME MOVIES TO DVD

As hundreds of people around the world prepare to attend Home Movie Day this Saturday, October 17th, I started thinking about how much misleading information there is on the internet from transfer houses about preservation and archiving your home movies. First and foremost is that a DVD does NOT preserve your film. A DVD is only a copy of your original film master by which you can watch your home movies. You cannot even edit a DVD transfer. As more and more people begin to think about putting their super 8, regular 8 or 16mm home movies into their Mac or some other edit program, so they can “do something” with them, I think it is important to think about why having your home movies scanned to DVD might not be the best choice. Most importantly, you never ever want to throw your original home movies away. This is your master that you will return to time and time again as scanning technology and applications change, and it needs to be cared for and protected.

The Center for Home Movies is a 501-C-3 not for profit organization that has done a tremendous job in raising the collective conscious of the public by having this annual Home Movie Day event worldwide. Home movies are our legacy, and offer a unique “you are here” view of decades past. They are an important part of personal, community, and cultural history. Go to their website www.homemovieday.com to find a Home Movie Day event near you. I guarantee that you will not be disappointed! The event is this Saturday at numerous locations around the world. Participation is simple: Bring one or more reels of your 8mm, Super8, or 16mm home movies to the event. They will inspect, and project them on a first-come, first-served basis. Damaged films will not be screened, but preservation specialists will offer expert advice on caring for at-risk materials. No films of your own? Just come and watch the show! It is free!

So as people begin to think about their archive, and perhaps select a reel or two to bring to Home Movie Day, this leaves the question, what should I do with MY home movies? You may no longer have access to a working projector, and more importantly, you would like to share your home movies with other family members. You may want to find out who else in my family has films. Maybe aunts, uncles and first cousins have films that show a different perspective or event than what your dad shot.

Pro8mm has scanned millions of hours of regular 8 , super 8 and 16mm film for the worlds most famous faces AND the general public. We feel so strongly about home movie preservation and that it should be done by a reputable company who will handle your one and only archive with integrity. Your home movies are just as import to you as the Hewlett/Packard’s, The Coppola’s. The Eagles, Van Halen, Bette Midler, Evan Picone, Estee Lauder (I could go on and on) are to them. Do you think that Richard Nixon would have sent his home movies to be transferred at Costco? To me this is like needing an organ transplant and finding a place that will do it at www.hearttransplants.com or the Kidney Depot. It is the same with your home movies. You only have one set of originals. So why not take the time to find out who is transferring them, what kind of experience they have, what kind of equipment they use and is the equipment safe for your film given its age and condition. Trust me, I have heard all the horror stories and many transfer facilities use primitive homemade equipment, some of which I have actually seen at trade shows. You could not pay me to put my film on anything that looked like it would scratch it, tear the perfs or chew the film!

Some places offer home movie transfers to DVD’s very cheap on equipment that only cost a few hundred dollars. We scan home movies on a one million dollar piece of equipment that was originally bought to do production work and documentary work of super 8 and regular 8 film. Your home movies are treated the way any professional production would be treated. Nothing drives me crazier than people who have the attitude why go to all that trouble .. “well it is just some old home movies” . I think people feel this way because your typical cheap transfer looks so bad compared to the original film which looks so incredibly good projected on a big screen. Well, here is a clip that I put up on FACEBOOK of “just some old home movies” from the 1940’s that were my grandfathers. www.vimeo.com/6974965 I had no idea that he was on the Board of Directors at The Blue Hill Credit Union, or that my great grandmother Rachel was so shy when the camera was on her. I never “got that” from the stills I had seen of her. My relatives went absolutely CRAZY! They loved it. Now I am getting my family to help me tag who these people were. Just think…The Power of Home Movies and the power of the internet. In order to do this though, your film has to be encoded to a file format not DVD. Films that are scanned as files can be used in an edit program on a Mac or PC, and, you can create stills from you film clips.

If you think having your home movies scanned by a professional motion picture company, here is what I suggest.

Set a budget. even as small as $100 -$200 dollars
Scan to file format only what you budgeted for. I would go for best quality , not quantity.
Share this high quality scan with your relatives to see if family members would like to share the cost and pool their films together to create a family archive. I think you will be surprised how many people might be interested in contributing
Do not feel that you have to scan everything at once. For my family, we scan an hour a year. You can also edit little clips and put them up for special occasions; For example, for my daughters 25th birthday, I put on FACEBOOK her 3rd birthday shot on Super 8 film. It was the greatest gift!
No matter where you scan, please take the time to find out the following by asking the facility these questions:

Find out what kind of equipment the facility has. Is it a film chain where they video tape your images as it goes through a projector. If it is, it will never render the quality that is on your original film. Or is it a flying spot scanner that is sprocketless. These render superior quality to film chain or single image capture telecines, and allow you to color correct the film. Many Ranks have a daVinci color correction system. This is like photoshop for your movies . Flying Spot Scanners are especially ideal for shrunken or badly damaged film.
2. If it is a flying scanner, what kind is it and how old is it? Transfer technology has been progressing rapidly since the 1980. The newer equipment can make substantially better images form your film.

3. Who is doing the transfer? Is it a real company or a home based business? Is it a trained film handler or archivist, or is it a minimum wage employee without professional training that is paying more attention to the internet or cell phone then your transfe

4. Do you have a choice of one light (single pass) or full scene-to-scene color correction? One light is best economy. Full color correction offers best quality and is done at a 3-1 ratio.

5. Is the film cleaned first and how? Dirty film will render a dirty transfer. Do they have technology to minimize the appearance of dirt and scratches on your transfer, such as Y Front technology?

6. Do you have a choice of standard definition or high definition? Is the high definition a “native 1080” HD scan, or is it “up rezzed’’ in a computer. Many places will call your scan an HD scan but it is film that has been video taped with an HD camcorder.

7. What do you want to do with your home movies? Do you want to edit clips to put up on Facebook, YouTube or on your iphone? Do you want to generate stills? Do you want to over-lay audio to take oral histories from family members? If so, then you do not want to transfer to DVD. You want to put them in a file format on a hard drive.

Whatever you decide, take the time to do the research. Think about how you want to share the movies. The internet now makes this so easy and so much more fun. You only have one archive. Preserve it for yourself, and for the future! And remember. Never throw away you original film! (c) RhondaVigeant, owner Pro8mm, October 2009 www.pro8mm.com

8 Tips For Shooting Modern Super 8 #2 - 85 Filter

8 Tips For Shooting Modern Super 8 #2.... The 85 Filter Situation

Now here is a topic of controversy and conversation…the good old 85 filter. There are many differences of opinion about the 85 filter. This is ours at Pro8mm. – Rhonda

In the beginning, all super8 film was Tungsten Balanced, which means that the film will produce true colors under tungsten light. If you wanted to get correct colors in daylight, you had to use an orange filter called an 85 (sometimes called 85A). For convenience, every Super 8 camera was built with an internal 85 filter. The filter was usually in place because most filming was done outside in daylight. There were some clever ways to take out the filter when you were filming in Tungsten (Interior) light. The filter removal system could be activated by the super8 cartridges notch system, or by a switch, or by sticking something into a place in the camera to take it out or some combination of these things.
Every super 8 camera manufacturer had their own idea as to how this should be done. Today, you have dozens of super8 film stocks that can be either daylight or tungsten color balanced. When you film in daylight with daylight film, you do not want to use an 85 filter. At Pro8mm we have been taking the internal filters out of super8 cameras for many years now. When this is done correctly, it can greatly improve the optical performance of a camera. These inernal filters are often made of plastic which deteriorate over time and can greatly interfere with the quality of the image. They are also dirt magnets! Today because you can buy daylight film, it is actually inconvenient to have the internal 85 filter. Some film manufacturing companies prescribe to the cartridge notch for 85-filter removal and some do not. The standards for dealing with this 85 thing are a mess, so it is up to you, the filmmaker to understand what the 85 filter is and how your camera handles this. You need to make sure that you are using the correct film for your filming environment, daylight or tungsten. Although you can do some amazing color, correction in post, if you do not get this right you will never achieve the brilliance in color your images can have. In addition, all this correcting takes time, which cost money. What make this a little challenging is in most super8 cameras the 85 was placed behind the viewfinder optic where it can not be seen. If your camera has a switch or you can toggle between the two settings for filter in and out , you will not be able to see the effect of having the filter in by looking in the viewfinder.
You must open up the camera door where you insert the film and look through the camera body. Put your eye in line with what the film will see. You must run the camera in order to see through it. It also will help if you point the camera at something darker so the exposure system is open, or manually set the camera to keep the exposure wide open. Once you find a position where you can see light through the camera body, flip the switch that goes between the 85 filters in and out. You should see the light turn a darker orange when the filter is in. However, you are not done. Take the super8 cartridge you are about to use and put it in the camera. While doing so, look to see if it is flipping a lever in the camera. Now go back to check your camera and make sure that the position of the cartridge has not effected the switching. The other approach is to make sure all your settings are correct and the cartridge has the correct notch for the 85 filters. A cartridge with a notch for the 85 filters will not remove the filter automaticly. A cartridge without a notch will automatically remove the filter. In some cameras, an external switch can override this, but in others, if the notch removes the 85 filter it cannot be returned with the switch.

(c) Pro8mm ™ , by Phil Vigeant, 2009



Cartridge on left is 7219 without 85 filter notch. On right, the notch added by Pro8mm
One thing you may find interesting in that we repackage the Kodak Vision 3 7219 which we call Pro8/19 ASA 500T with our prepaid processing and add the correct notch for the 85 filter. ($30 stock and processing…add a scan to Pro Ress that inclues prep and clean for one stop work flows with progressive discount, a yummy deal!) www.pro8mm.com

8 Tips for Shooting modern Super 8

I read allot about Super 8 in chat rooms and forums and I am always amazed how much misinformation there is. There seems to always be an on going battle between people trying to jockey themselves as the most informed expert. This wrong information and half truths hurts filmmakers. I checked on AMAZON.com and there is nothing on MODERN SUPER 8. The last book I found was written in 1981. So I though it would be helpful to have some tips for shooting modern Super 8.

Instead of giving you all 8 tips at once, I'll give them to you one at a time so that hopefully you will keep coming back and read my Super 8 blog! While some of the tips I am going to give you are “old school” common sense that any film maker working with super 8 or 16mm film should do/should have done at any time in their shooting career , some have to do directly with the new modern negative film stocks, our Max 8, 16 x 9 super 8 cameras and native 1080 HD scanning.


A Few tips can go a long way, by Phil Vigeant, owner and senior colorist at Pro8mm

“Parts of my job as senior colorist at Pro8mm, is that I get to scan about a million feet of super8 film each year. In doing so I get to see what is happening in the super8 world with some vantage point based on volume. I look at my work as a two-part job. One, as a creative colorist, trying to get the most information off of the frames for our customers, and second, as an inspector looking for bugs in the over all super8 process. When I see something that needs improving, I try to see what I can do with the technology at hand to facilitate a positive change. Internally, I can talk to my employees who are the people most responsible for each area and together we try to attack the issue. Externally, it is much more difficult. You have competitive concerns to address, and some companies just do not see these problems as issues the way I might. In addition, there are things that are totally beyond my control that can play a major roll in great looking super8 footage. These things are up to the filmmaker. Each year the technology for scanning film to digital seems to improve, resulting in more things that I can fix. Native 1080 HD film scanning now provides me with tremendous processing power to do many things that were impossible just a year ago. There are new things on the horizon as well, which will give us even greater ability to improve an imperfect image. However, there are a few things that if the filmmaker does not get right, there is very little that can be done to remedy the problem, no matter how much technology you have at hand.

As the years progress the problems seem to change and evolve with each new generation. For those who grew up with film as the main picture-taking medium some things were learned at every juncture of the photographic process. Things such as focus were so common knowledge of that generation that we often forget that this is knowledge that you have to learn. A colleague of mine who teaches film making here in California said that he has to spend days of the semester going over some of this basic stuff. Therefore, here is my short list 2009 of the 8 most common areas of concern I see every day in transferring film. I hope that a few quick tips and expatiation can help you create better images with your super8 camera.” – Phil Vigeant(c) 2009

TIP #1 HAIR IN THE GATE

Nothing is more aggravating for us and to you when we get absolutely gorgeous footage up on the scanner and there is a big yucky piece of dirt or hair in the frame. Just a small effort on your part will make your footage sparkle! BRUSH YOUR CAMERA GATE!

“Because of the nature of film and the way it travels through a camera and exposes each frame, the system will build up debris in the gate. If it is allowed to accumulate, this will block some of the image. The metal gate frames the film with what should be a smooth black border. Because you are running film over metal, it tends to leaves tiny deposits on the gate as the film passes over it. This emulsion residue is a gummy substance that is barely visible to the naked eye. If this is not cleaned from your camera, from time to time you can have several problems. First, the gummy glue can trap foreign substances like hair, lint, and dust and hold it firmly, often where the image is taken in a camera. This results in these ugly black globs which start around the boarder that blocks some of your image usually on the edges, but sometimes big enough to block a lot of picture. Depending on the size of these foreign obstacles, a hair in the gate can ruin a shot. In addition, the build up of emulsion can get so bad that your camera can physically scratch the film. The fix for these problems is very simple. Go to the store and purchase a child’s toothbrush. Gently brush a few strokes between every cartridge. Every, single, cartridge! It is amazingly simple but incredibly effective. Do not use compressed air as all that will do is blow dirt around, and it might blow debris into somewhere you cannot get it out. In addition, compressed air does not often have the force to move the object because remember, it is stuck in place. Do not use a Q-tip, as the chance of leaving a fiber of cotton is greater then the good you will do by performing the cleaning. If your camera has never been cleaned, you might need to do some more extensive work. Once it is clean, the brush trick is all that should be need to keep you hair free.

Pro8mm includes a free camera gate brush with every rental or purchase. They are also available for sale on our website for $5.00 at www.pro8mm.com. A nifty little tool that folds up small and has an attached cover, so you don’t have to worry about loosing it. Once you use it on your camera, we do not advise using it as a substitute for gum or mints when you have been on the set all day, or for that matter, the other way around! www.pro8mm.com

Grand Opening Of Our On Line Store

Customize your own package with multi format options, buy film and processing, a camera package, or just "play" with a quote. We have re-launched our on-line store. Look for products and specials in the days to come. Email us with feedback on what you would like to see, info@pro8mm.com.

Shop till you drop at Pro8mm!818-848-5522 2805 W. Magnolia Blvd., Burbank, CA 91505

www.pro8mm.com

Amazing New Super 8 Film Stock, Pro8/47 500T

Pro8mm Announces Super 8 Fuji Eterna Vivid 500T Film





It's here! The amazing new Pro8/47 500T!
From night sky fireworks to sun reflecting on the open ocean, we absolutely LOVE the versatility of this amazing new Fuji filmstock. Available in Super8 exclusively from Pro8mm, Fuji states "ETERNA Vivid 500 expands the expressive range of high-speed film, producing sharp, color-intensive images under various challenging shooting conditions, including night scenes. New ETERNA Vivid 500 inherits its saturated color, high contrast and superior sharpness from the acclaimed ETERNA Vivid 160. Offering excellent matching with Vivid 160, this E.I. 500 color negative film expands the parameters for shooting sharp, intense color into the realm of night scenes, producing distinctive images under a range of shooting conditions.Exceptional image quality is maintained even during telecine transfer for TV work or digital processing of motion picture footage.Exhibiting superior high-speed performance, ETERNA Vivid 500 ushers in a new era in cinematic expression."

8 stops of latitude, extremely versatile in daylight or night sky, use outdoors or indoors. Add an 85 and neutraul density filter to your camera for best outdoor results. Seeing is believing.
Order at www.pro8mm.com $30 stock and processing. All inclusive packages with HD scanning to Pro Res starting at $108.00. Cut and past into your browser http://www.vimeo.com/5823843

Home Movie Collection Event For Jewish Homegrown History

For Immediate Release: July 13, 2009



The Labyrinth Project, with support from Pro8mm invite you to participate in a screening and collection event of home movies shot on regular 8, super 8 and 16mm film for a new project, JEWISH HOMEGROWN HISTORY.

What is Jewish Homegrown History?
Jewish Homegrown History is the latest multimedia project from USC’s pioneering research initiative, The Labyrinth Project, which has been producing award-winning installations, websites and DVDs for the past ten years.

What is the screening event?
Home Movie Collection Day for Jewish Homegrown History
is a community celebration of amateur cinema. Selected works will be considered for inclusion in Jewish Homegrown History, an exhibition opening at the Skirball Cultural Center in September 2010.

Where is the screening/collection event?
DATE: Sunday, July 19, 2009
TIME: 11:00AM - 5:00PM (drop in any time)
LOCATION: USC School of Cinematic Arts, SCA110



What are we looking for?

Jewish Homegrown History creates an interactive narrative of the American Jewish experience on a global and local scale. Starting with California, the team at Labyrinth has been collecting images, text and video to build a historical foundation for our online database and upcoming museum installation. There are three central themes we hope to explore: Immigration, Identity, and Intermarriage. Although archival material and published histories have been key in our research, what we really want are the personal accounts and homegrown details that bring these themes to life. We are interested in your home movies to help us tell these stories.

Your footage will be screened alongside passages from relevant literature, photos from digital archives, and interviews we have conducted with scholars, entrepreneurs and historians across California. The goal of this project is to create a productive dialogue between official history and personal narrative. We want to see how events publicized in traditional sources relate to the people who actually lived through them. We want to see the faces of the men and women who worked so hard and fought so bravely when the country went to war. We want to see the houses with picket fences and big backyards when families moved to the suburbs. We want to see the bride and groom together in love when larger forces conspired to keep them apart. Ordinary people doing ordinary things.

At the Home Movie Screening and Collection event, we will be looking for these kinds of images that enrich and contextualize the broader stories we are telling with our research. However, we also welcome divergent points of view. We expect what we see to both reinforce and challenge our own experiences and theories. We are less concerned with telling you how history happened, but rather how you can share your perspective with us. At Labyrinth, we believe that there are many paths to a destination, so for this story we encourage contributions from as many voices as possible.

We are currently focused on representing Jewish life in California, with special emphasis on Jewish neighborhoods like Boyle Heights, the Fairfax District, the Pico-Robertson Area, Hancock Park, and the Valley. We are also featuring Riverside County resorts like Murietta Hot Springs, Lake Elsinore, and Highland Hot Springs. We are especially interested in older films or videos but will look at anything up through the1980s. Additionally, we are seeking almost anything that represents Jewish life in California including:

• Worship at synagogues
• Holiday celebrations
• Dinner parties
• Recreational activities
• Places of business
• Portraits of neighborhoods and people
• Interfaith and interethnic relationships
• Political and social events


For additional information, contact:
By email: mkinder@usc.edu
By telephone, call: 213-740-5112
By postcard or letter, write:
The Labyrinth Project
School of Cinematic Arts, LPB 118,
University of Southern California
Los Angeles, CA 90089-2211
Attention: Marsha Kinder

Feel free to visit our website at http://college.usc.edu/labyrinth/



FIVE GREAT REASONS TO PARTICIPATE:

1. Come and screen your old films.
In case you do not have a working projector for your 8mm/Super8/16mm films, we’ve got you covered. If you have been curious to see what is on those old reels, this is your chance!

2. Rediscover memories of your favorite people and places.
-Want to remind your husband how stunning you looked in your wedding dress?
-Want to go back to the house you grew up in?
-Want to honor the memory of a relative no longer with us?
Come share your significant moments with an audience of family and friends. Show us the things you care about.


3. Be part of history!
Participate in a nationally recognized historical research project! Your home movies could become part of our traveling museum installation, Jewish Homegrown History, which is scheduled for the Skirball Cultural Center in Los Angeles, the New Americans Museum in San Diego, and the Judah Magnes Museum in Berkeley.

4. Transfer your home movies to HD digital video with Pro8mm and get a significant discount off their list price for broadcast quality archiving. Representatives from Pro8mm will be on hand to examine your films and give advice on how best to care for the original reels. Pro8mm has been archiving the world’s most famous faces and events for over 30 years.

5. Learn how to post your home movies to social networking sites such as Facebook, put them on your iphone, or email clips. Sharing your favorite memories with your loved ones is easy when your digitize your footage.

*BONUS*

6. Get a tax write-off!
Contribute your digitized footage to the installation or to the USC Digital Archive and get a tax write-off for the cost of the transfer.

Above all, we want to encourage people to come out and have fun. Come anytime between 11:00 AM and 5:00 PM. Bring your films, no matter the format, and we will screen them. Bring friends and family too. Cinema is a shared experience and we would love for you to share yours with us. See you July 19th!