A professional film editor will go through all the splices and repairs them if needed. At the same time, any possible damage to the film is inspected and repaired accordingly. The films are wound from small reels to larger 120-meter reels. There are several reasons for this. First, the larger reel is faster to process in a large digital scanner, second, the larger reel rotates more stably, and the film does not stick to it. The customer gets their film back with large reels packed in protective cases. Whether it's a new or 50-year-old film, the bigger reel keeps the film straighter thanks to its larger center.
The cleanliness of the film is paramount to the end result of the film transfer. The best result is achieved when the film is first washed free of loose debris and soot. The films are cleaned either in an ultrasonic cleaner or by hand with an alcoholic cleaner depending on the type and condition of the film. The chemical is harmless to the film and evaporates 100%. Reel One also has a real-time digital media corrector, but it will only be used if agreed separately.
The price of the transfer is comparable to the quality. At Reel One, all transfers are made with a digital scanner. Professional equipment for TV and film production ensures that your film is digitized in the best possible quality. The film is old and magenta in color. In a digital scanner, colors are corrected in real-time during transfer. A typical flaw in projector transfer is that the image is soft, whites burn, and part of the image is too dark. Reel One can handle all film formats: 8mm, 9.5mm, 16mm, 35mm, and 70mm. With a genuine Rank Cintel digital scanner.
Light/color correction is an important part of film transfer. Color defects with incorrect exposure also easily occur in the film. Even during the development process, the tones may be distorted. In old movies, time changes shades in the direction of magenta. All shades can be corrected when the film is digitized. If the film is left too dark during transfer, no more grayscale can be found afterward. Similar to this, if the film is scanned too bright and the white burns puncture, they can not be corrected afterward.
For example, in the negative original, light corrections are made for each sample separately. At Reel One, even home films are photo corrected in shots. Dark interiors are given more light so that people can recognize them and at the same time beautiful exteriors are kept suitably bright so that whites don't go overboard. At the same time, basic color correction is also performed on the film. This is a craft that is included in the price of digitizing our film. No automaton correctly detects exposure or color changes in a moving image. TV and film professionals make light and color corrections of the film at Reel One. In home movies, however, shades are not compared for as long as in professional films, but the most important thing is that the image is bright, sharp, and corrected with basic colors.
In addition to the 8mm, 9.5mm, 16mm, 35mm films, we digitize most video formats: Vhs, Svhs, Video8, Hi8, Digital8, DV, HDV, Minidv, Beta max, V2000.
In addition, a wide range of professional formats: U-matic SP / HB / LB, Beta sp, Beta SX, Digibeta, DVcam, XDcam, DVCpro, MII
Audio formats: reel tape, C-cassette, Minidisc, DATA.
Slides, picture negatives, pictures.
When digitizing analog videos, we use a time base corrector that stabilizes the image jitter. By separate agreement, we can also correct noise or graininess in the videos with a real-time media equalizer.
At Reel One, the digitization of the film is done natively to the already purified film, in which case the media equalizer will not be used unless otherwise agreed. Sometimes the camera has been malfunctioning or the image is particularly grainy. In this case, the digital media corrector can improve the quality of the shots. It handles the movie in real-time. It reduces the graininess of the film and removes debris. The device also makes it possible to eliminate the flicker of the film surface seen in old movies. At the same time, the motion of the film generated during the shooting phase in the camera port can also be stabilized.