Tutorial: True-to-Life™ Speed & Motion

ReMastered™ Virtual Video™

Einstein: Director of Marking

iPhone Instructions: Click to Show/Hide

True-to-Life™ Speed & Motion

If you only have an hour's worth of movie film, you don't want to get only 45 minutes back. For sure, you don't want that 45 minutes -- of "the times of your life" -- to be "forever in fast-forward" motion.

If all you have is an hour of movie film, you want an hour of transferred video back - with

Digital Algorithmic Interpolation™ (DAI):

We use Digital Algorithmic Interpolation™ (DAI)

What does DAI do?

Here is an example of the impact of DAI on

OVER-ALL PROJECT: (Super 8 & Regular 8 Combined)

8,200 feet of Super 8 & Regular 8 combined.

“True-to-Life™” speed with “True-to-Life™” motion with DAI

The following is a breakdown of this OVER-ALL PROJECT:


5950 feet --73% of this film -- is Super 8 film and
100% of that footage is SOUND film (5,950 feet).

“True-to-Life™ Speed” and “True-to-Life™ Motion (For THE Times of YOUR Life™ )” with DAI -- @ 18.00 FPS

This also means "sound film" will be produced @ 18 FPS or 24 FPS – depending on the original source speed -- at “True-to-Life™ Speed” and “True-to-Life™ Motion (For THE Times of YOUR Life™ )”.

Important Note: Super 8 film shot at 18fps:

Commercial 16mm film shot at 24fps.

Judder introduces

  1. “Un-Natural Speed” with
  2. “Un-Natural Motion”
  3. that is NOT in your original film.

We produce Commercial 16mm film at 15fps.

15fps gives clients

Doubling the video frame rate

We then normalize the video to 24 fps -- with "NO JUDDER" -- for “True-to-Life™ Speed” and “True-to-Life™ Motion (For THE Times of YOUR Life™ )”


Roughly 2250 feet or 27.4% of this film to be “antique quality” Regular 8 film.

“True-to-Life™ Speed” and “True-to-Life™ Motion (For THE Times of YOUR Life™ )” @ 15.00 FPS


Most studios loose

We use Digital Algorithmic Interpolation™ (DAI) to synchronize (sync) 16 fps film at 15fps.

What benefits does doing this give you?

  1. You have the option of producing a true "slow motion" or "variable slowing motion" version of ALL clips.
    You will like this for a) “racing” footage, b) hand-held footage, or c) panning footage; and

  2. You have the option of "freeze frame" and "still-frame capture" and creating "special effects" and digital transitions –
    all of which are greatly diminished professionally -- with all other synchronization methods; and,

  3. You have the option to "stabilize" any "hand held" motion -- keeping a scene at 15fps OR using frame stabilization technology – now available as a “plug-in filter” for many editing apps; and,

  4. You have better luminance control over variations in exposure -- a concern for most footage shot with “early” “automatic exposure” systems -- however, you can still expect some "blow-out" from those old meters.

  5. For 16mm films, 15fps eliminates the need for “inserted pull-down” or "blended” frames; thus,

  6. "Normalizing” sound film – from 15fps to 18fps or 24fps -- is smooth -- without ANY "judder" from inserted frames from a mechanical pull-down telecine methods.

16MM SOUND PROJECTS (If applicable):

A 3:2 pull down capture will introduce “judder” into the motion of 16mm film -- NOT shot a 24fps.

For this reason, for 16mm film – of all speeds – INCLUDING SOUND – we capture at 15fps and then “digitally” normalize the speed with Digital Algorithmic Interpolation™(DAI) techniques – just like we do for our commercial clients.