Put that old movie film projector away. View your family's 8mm, super 8, and 16mm movie films on a TV using your Blu-Ray or DVD player.
We professionally transfer your old home movie film frame by frame to Blu-Ray, DVD or an Editable Video File.
Call us at 1-800-776-8357
Minimum Order $20 Details
Picking the final format for your 8mm, Super 8, & 16mm movie film transfer is a personal decision and should be based on your goals. If you are having your old 8mm, Super 8, & 16mm movie film transferred so that you can watch it on TV with your DVD or Blu-Ray player then you might want to order the SD DVD or HD Blu-Ray output.
8mm, Super 8, & 16mm Movie Film
Standard Definition=16:9 frame by frame movie film transfers are captured with HD equipment and down sampled to SD resulting in the best SD movie film transfer available.SD = 16:9 -- Resolution (progressive) @ 720x480
16mm movie film, 8mm movie film, and Super8 movie film has narrower aspect ratio than widescreen 16:9 so we will add black bars to each side of the video to maintain the proper aspect ratio for your widescreen TV's.
Once we save your treasured memories to digital media, they can be easily copied for other family members to enjoy for many years to come.
5 Minute Chapters
Thumbnail Picture Per Chapter
Start on Any Chapter
Optional secondary output to editable files.
Optional Customer Menu, Chapter Title Screens, Custom Music, etc.
If you want the highest quality High Definition (HD) 8mm, Super8 & 16mm Movie Film Transfer you have come to the right place!
8mm, Super 8, & 16mm
We can put your 8mm, Super 8, & 16mm Movie film to HD Disc Blu-Ray
We transfer 8mm silent, super8 silent movie film as well as 16mm movie film silent and 16mm movie film with an optical sound track on our High Definition HD 1080p Frame by Frame transfer equipment. We use state of the art 3CCD cameras on all movie film transfers.
All movie film is professionally cleaned, repaired, lubricated, and spliced before the transfer begins.
High Definition frame by frame movie film transfers are captured with HD equipment and excel in several key areas, notably sharpness and color fidelity. Our High Definition (HD) transfers are 1080p, which is superior to 1080i.HD = 1080 resolution @ 1080x1920
HD Blu-Ray Menu
5 Minute Chapters
Thumbnail picture per chapter
Start on any chapter
Blu-Ray technology is extremely new and many Blu-Ray players on the market today still have problems reading a "burned" Blu-Ray disc even with the latest firmware updates. If you order Blu-Ray, we do not guarantee that your player will be able to read it. Over time, the Blu-Ray manufacturers will work out the kinks and provide consumers with more versatile players.
Because of this, we recommend that if you order Blu-Ray, you also order DVD discs so that you can be assured that you will be able to view your 8mm, Super 8, & 16mm movies on a DVD player while the industry catches up.
Optional secondary output to editable files.
Optional Customer Menu, Chapter Title Screens, Custom Music, etc.
If you simply want us to create a High Definition 1080 HD editable file from your movie film to do your custom editing at home on your PC or MAC, then you can choose one of the editable file options. If you want to have your cake and eat it too -- we can provide you with the instant gratification on DVD, Blu-Ray, AND editable HD files!
We offer the following file formats for movie film transfers:
1080x1920 16:9 AVI transferred to Data DVD or hard drive.
16:9 Wide Screen with black bars on each side to maintain aspect ratio
720x480p 16:9 AVI transferred to Data DVD or hard drive.
A DVD Video can be edited with the correct tools (Pinnacle 12 http://www.pinnaclesys.com) is one example. However, please be advised DVD Video is in MPEG2 format; a file format which is a very lossy compression format. If you want a good master file to edit from, you should order AVI on a hard drive to produce the highest quality video.
You may want to consider getting a copy on a playable DVD or Blu-Ray in addition to the editable file format. This way you can archive the film and have a format you can edit. By ordering a playable DVD up front, you can have instant gratification and enjoy watching your old movies the day your order arrives.
All versions (files, DVDs, and Blu-Ray discs) are created from our master quality video file. We go back to the master file and completely re-render the video to the output format. We never make one format using another (making the DVD from Blu-Ray) like many other companies do. We do not take shortcuts with quality.
Movie Film Reel Sizes & Duration
Some of the 8mm Kodak yellow boxes say 25 ft on them and it can be confusing because there is actually 50 feet on these reels. Most of the boxes actually say 25ft of a double roll. Usually the words "double roll" will be right under "25ft" or might be on the other side of the box. When the film was purchased, it had one 25ft roll of 16mm film in the cartridge. The film was shot one side at a time and then taken out, turned over, put back in and shot the other side. Kodak then split the 25 feet of 16mm film into one 50 foot roll of 8mm film. So, this is why the 3" reels have 50 feet on them even though the box might say 25ft of a double roll.
8 mm film is a motion picture film format in which the filmstrip is eight millimeters wide. It exists in two main versions: the original standard 8mm film, also known as regular 8 mm or Double 8 mm, and Super 8. Although both standard 8 mm and Super 8 are 8 mm wide, Super 8 has a larger image area because of its smaller perforations.
There are also two other varieties of Super 8 - Single 8 mm and Straight-8 - which require different cameras but which produce a final film with the same dimensions.
The standard 8 mm (also known as regular 8) 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 16 mm. The film spools actually contain a 16 mm film with twice as many perforations along each edge than normal 16 mm film; on its first pass through the camera, the film is only exposed along half of its width. When the first pass is complete, the camera is opened and the spools are flipped and swapped (the design of the spool hole ensures that this happens properly) and the same film is then exposed along its other edge, the edge left unexposed on the first pass. 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 yielding four times as many frames from the same amount of 16 mm film - and hence the cost savings. Because of the two passes of the film, the format was sometimes called Double 8. The frame size of regular 8 mm is 4.8 mm x 3.5 mm and 1 meter of film contains 264 pictures. Normally Double 8 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 sales of standard 8 mm film in the early 1990s, but continued to manufacture 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.
In 1965,Super-8 film was released and was quickly adopted by the amateur film-maker. It featured a better quality image, and was easier to use mainly due to a cartridge-loading system which did not require re-loading - and re-threading -halfway through. Super 8 was often erroneously criticized, since the film gate in some cheap Super 8 cameras was plastic, as was the pressure plate built in to the cartridge; the standard 8 cameras had a permanent metal film gate that was regarded as more reliable in keeping the film flat and the image in focus. In reality, this was not the case. The plastic pressure plate could be moulded to far smaller tolerances than their metal counterparts could be machined. The permanent metal pressure plates had to be machined to a compromise size for all film likely to be encountered, whereas the plastic pressure plate was custom moulded for the specific film in the cartridge. This was of greater importance in sound cameras as the sound film was thinner than its silent counterpart. A further issue was that every film cartridge came with a brand new (and hence unworn) pressure plate.
There was another version of Super-8 film, Single-8, produced by Fuji in Japan. It has the same final film dimensions, but the cassette is different. The Kodak system was by far the most popular. Super-8 was at one point available with a magnetic sound track at the edge of the film but this only made up 5 to 8% of Super-8 sales and was discontinued in the 1990s. There has been a huge resurgence of Super-8 film in recent years due to advances in film stocks and digital technology. Film can handle far greater variations in contrast than video cameras and thus has become an alternative for acquisition. The idea is to shoot on the low cost Super-8 equipment then transfer the film to video for editing. The transfer of film to video is called telecine.
- credit to Wikipedia
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16mm film was introduced by Eastman Kodak in 1923 as an inexpensive amateur alternative to the conventional 35mm film format. During the 1920s the format was often referred to as sub-standard film by the professional industry. Initially directed toward the amateur market, Kodak hired Willard Beech Cook from his 28 mm Pathescope of America company to create the new 16mm Kodascope Library. In addition to making home movies, one could buy or rent films from the library, one of the key selling aspects of the format. As it was intended for amateur use, 16mm film was one of the first formats to use acetate safety film as a film base, and Kodak never manufactured nitrate film for the format due to the high flammability of the nitrate base. 35mm nitrate was discontinued in 1952.
The silent 16mm format was initially aimed at the home enthusiast, but by the 1930s it had begun to make inroads into the educational market. The addition of optical sound tracks and, most notably, Kodachrome in 1935, gave an enormous boost to the 16mm market. Used extensively in WW2, there was a huge expansion of 16mm professional filmmaking in the post-war years. Films for government, business, medical and industrial clients created a large network of 16mm professional filmmakers and related service industries in the 1950s and 1960s. The advent of television also enhanced the use of 16mm film, initially for its advantage of cost and portability over 35mm. At first used as a news-gathering format, the 16mm format was also used to create programming shot outside the confines of the more rigid television production sets. The home movie market gradually switched to the even less expensive 8 mm film and Super 8 mm format.
16mm is also extensively used for television production in countries where television economics make the use of 35mm too expensive. Digital video tape has made significant inroads in television production use, even to the extent that in some countries, 16mm is considered obsolete as a TV production format by broadcasters. Nevertheless, it is still in extensive use in its Super 16 ratio (see below) for high-quality programming in the US and UK. Independently produced documentaries and shorts (intended mainly for TV use) may still be shot on film. Furthermore television documentary film-makers will frequently use clockwork 16mm cameras to shoot scenes in extreme climates.
Double-perforation 16mm film has perforations down both sides at every frame line. Single-perf only has perforations on one side of the film. The picture area of regular 16mm has an aspect ratio close to 1.33, and 16mm film prints use single-perf film so that there is space for a monophonic soundtrack where the other perf side would be on the negative. Double-sprocket 16mm stock is slowly being phased out by Kodak, as single-perf film can be used by regular 16mm as well as Super 16, which requires single-perf. Today, most of these uses have been taken over by video, and 16mm film is used primarily by budget-conscious independent filmmakers.
The variant called Super 16mm, Super 16, or 16mm Type W uses single-sprocket film, and takes advantage of the extra room for an expanded picture area with a wider aspect ratio of 1.67. Super 16 cameras are usually 16mm cameras which have had the film gate and ground glass in the viewfinder modified for the wider frame. Since Super 16 takes up the space originally reserved for the soundtrack, films shot in this format can be "blown up" (enlarged) by optical printing to 35 mm for projection. However, with the recent development of digital intermediate workflows, it is now possible to "digitally blow up" to 35mm with virtually no quality loss (given a high quality digital scan), or alternatively to use high-quality video equipment for the original image capture.
A variation of the Super 16 format is the DIY-crafted "Ultra-16", which is formed by widening the gate of a standard 16mm camera to expose the area between the perforations. The placement of the perforations on a standard strip of 16mm film (to the left of the division between frames) allows for use of this normally unexposed area. The Ultra-16 format, with frame dimensions of 11.66mm by 6.15mm, allows for a frame size between those of standard 16mm and Super 16 while avoiding the expense of converting a 16mm camera to Super 16, the lens requirements of Super 16 cameras, and the image vignetting caused by traditional 16mm cameras. Thus, standard 16mm optics may be used to achieve a wider image. The image readily converts to NTSC/PAL (1.33 ratio), HDTV (1.78 ratio) and to 35mm film (1.85 ratio), using either both the full vertical frame or the full width (intersprocket) frame, depending upon application.