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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
True-to-Life™ Motion (For THE Times of YOUR Life™ ) and
Digital Algorithmic Interpolation™ (DAI):
We use Digital Algorithmic Interpolation™ (DAI)
to synchronize (sync) movie film to your video --
True-to-Life™ Speed with
True-to-Life™ Motion (For THE Times of YOUR Life™ ).
What does DAI do?
DAI produces synchronization superior to mechanical "pull-down" methods AND
DAI produces Progressive Scan Video that is most desired for HDTV.
DAI produces predictive frames and transitional frames -- in "full frame" images.
Here is an example of the impact of DAI on
True-to-Life™ Speed and
True-to-Life™ Motion (For THE Times of YOUR Life™ ) --
on a "Real Life" Project.
OVER-ALL PROJECT: (Super 8 & Regular 8 Combined)
8,200 feet of Super 8 & Regular 8 combined.
Playing Time after DAI:
9.94 hour(s) of TOTAL VIDEO – of all types of film.
“True-to-Life™” speed with “True-to-Life™” motion with DAI
“Reclaimed” 90 minutes MORE “video play time” –
which most studios loose to “REAL-TIME DISTORTION” – capturing at the wrong speed.
The following is a breakdown of this OVER-ALL PROJECT:
Super 8 FILM -- ORIGINALLY SHOT AT 18FPS (OR 24FPS):
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
"Reclaimed" 40 minutes MORE “video play time”–
which most studios loose to “REAL-TIME DISTORTION” –
capturing at 20 frames per second.
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:
Most studios loose 10% of Super 8 video footage per HOUR – capturing @ 20fps.
They add 10% “REAL-TIME DISTORTION” – un-natural speed with un-natural motion.
Commercial 16mm film shot at 24fps.
Most studios introduce “judder” –
using 2:3 pull-down–
which is no longer necessary with modern digital technology.
“Un-Natural Speed” with
that is NOT in your original film.
We produce Commercial 16mm film at 15fps.
15fps gives clients
2 frames of video
for every single frame of movie film.
Doubling the video frame rate
allows for special "slow motion" and
ALL other special effects
that are not as effective at 24fps.
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™ )”
Regular 8 MM FILM -- ORIGINALLY SHOT @ 16FPS:
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
will "reclaim" 50 minutes MORE “video play time” –
which most studios loose to “REAL-TIME DISTORTION” – capturing at 20 fps.
IMPORTANT NOTE: Regular 8:
Most studios loose
2.5 minutes of video --
for every 10 minutes of your original movie film --
a gross 25% “real-time speed distortion”.
We use Digital Algorithmic Interpolation™ (DAI) to synchronize (sync) 16 fps film at 15fps.
DAI minimizes “real time” speed distortion to .07 --
a variance spread over 15 frames each second --
that the human eye can not detect.
What benefits does doing this give you?
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
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,
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,
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.
For 16mm films, 15fps eliminates the need for “inserted pull-down” or "blended” frames; thus,
"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.