This service is specifically targeted at those customers who demand the absolute best quality from their film and have a view to the long term preservation of these files.
So whether you are the archivist for a Library, a Museum, a University, a Government Department or a Private Company then please do get in touch and we can talk about your needs and aims for your archive.
If you are a private individual who wants a long term solution for your family's archives then please do give me a call also as I have worked with many families with substantial collections who just want the absolute best possible digitization.
Please read the following sections and if you have any questions then please do get in touch with your requirements
I can accept Cinefilm in just about any format you might have. It might be silent it might have sound, the "Memory HD" can cope with everything.
Standard 8mm & Super 8mm
8mm Polavision Cassettes
16mm & Super 16mm (single or double sprockets)
Sound can be as an optical strip (COMOPT) or as a magnetic strip (COMMAG)
The "Memory HD" has no gate, three separate motors, is capstan driven and has two tension arms so that it can cope with cinefilm in just about any state of disrepair. If parts of your cinefilm archive are shrunken or warped or has damaged sprockets I can still get the absolute best from it.
See "Cleaning & Repair" for further details
The total cost of digitizing your cinefilm archive will depend on how many feet of film that you have. To work that out it is easier if you know how many reels you have, what diameter they are and therefore roughly how many feet there are on each reel.
There are many different reel sizes, most of the more popular ones are listed below.
|3 inch reel - 50ft||4mins||2mins|
|4 inch reel - 100ft||8mins||4mins|
|5 inch reel - 200ft
|7 inch reel - 400ft||32mins||16mins|
|9 inch reel - 800ft||64mins||32mins|
|12 inch reel - 1,200ft||96mins||48mins|
|13.5 inch reel - 1,600ft||128mins||64mins|
The larger reels might have graduated marks along the spine of the reel to show how much film you have on that reel.
The Key difference between a home archive and a professional archive is the size and type of the output file.
Typical home archives would be in the compressed .avi format between 13GB and 30GB per hour. A professional archive can be in .avi format or the 4:4:4 Digital Picture Exchange (DPX) format which can run between 100GB and 720GB per hour. This highest quality output conforms to the criteria published by SMPTE in ANSI/SMPTE 268M-2003 with all colour channels operating at their maximum.
As you can imagine the larger the file size means that more information about the film is retained. So if you are looking for not only the best quality now but have an eye on future storage and use in 10 to 30 years time then you might want to consider a professional, high grade archive service.
If you have a particular codec requirement I can create files in just about any codec and file size that you want.
Please check out the "Hard Disk Drive" section for further details on HDD supply.
If you are looking at getting a professional level archive digitized then long term storage will be an important issue for you. We can discuss which type of Hard Disc Drive is best for your needs or if you already have a firm idea of what you want I will be more than happy to work with the specific type of HDD that you need.
For professional archives I am happy to work with internal or external HDDs and you can supply these or I can source them for you.
I would recommend that as soon as the HDD arrives safely back with you that you organize to get the files safely backed up at your earliest opportunity
You might wish to have your professional archive in a playable format as well as a long term archive.
If you have a standard definition archive this can be on a DVD and if you have an HD transfer you can have this on a High Definition Blu-Ray disc or a downscaled version on a DVD.
I only use Verbatim DatalifePlus Thermal printable discs, these are industry standard and the best you can get. You cannot buy them in the shops. I use these because I NEVER want one of my discs to fail and I am prepared to pay for the best there is. I always create beautiful labels using stills from your footage and your chosen titles. If you have a company or institutional logo I will happily use that and will print copyright or contact information as requested onto the disc.
To do this high grade printing I use the superb TEAC P55C Dye Sublimation Disc printer.
I NEVER compress the images to squeeze more time onto a disc. There would be no point in using the best digitizer there is, only to compress all of the quality out of those images.
I have been asked on occasion to output the final film onto DV tape. I will happily do this. I only use SONY Professional DVCAM tapes which are acknowledged to be the best in the industry. These DVCAM tapes can be run in various formats and tape sizes.
You can have the tapes back as Mini-DV or as larger standard sized cassettes.
You can have them recorded as DV or DVCAM in Standard Definition or HDV, if your film is in High Definition.
There is a charge of £15 per Sony pro mini-DVCAM tape and £20 per large Sony Pro DVCAM tape. Or you can supply your own if you have stock of them.
The images will be recorded using the top of the range Sony High Definition HDV DVCAM M25 Deck.
The simplest way to get things moving is to either give me a call or drop me an email. We can go through what you have in your archive and what you are trying to achieve.
Call: 01793-495733 or 07940-810733
email: email@example.com - for further details check the "Contact" page.
To be able to give you an accurate quote I will need to know how many reels / feet of film you have. and what final output format you require.
If you have a specific spreadsheet of requirements or tendering processes or departments that you have to satisfy then I will happily work with you to make sure than my working practices are at or above your required standards.
I will also happily provide a sample of my work from either my film stock or preferably your film stock - see the film samples section for more details.
Every Professional Grade archive will have it's own specific set of aims I will create a bespoke service based around your needs.
Because of this the work involved to complete an archive to your standards can vary quite significantly and I will finalize any quotes on an individual basis.
There is never a "One Size Fits All" attitude at Save Those Memories and I will work with you to give you exactly what you want and need.
Although some customers are happy to proceed on the basis of discussions I also understand that many will need to see a short sample of work before committing to further expense.
It would be best if I supply a sample based on one of your own films so that you will be able to compare what I produce to something you know, have seen recently or have another version to compare my transfer to.
It is almost pointless asking for a sample from any company of their own film as they will probably pick a beautiful piece of film with strong colours that it would be very difficult to make a mess of. It is more viable to use a "poor" to "average" piece of film to show how far you can move it from poor to excellent. If you have the time and are interested in getting samples from two or three companies, try and use the same film and send it to each company. Bear in mind that I clean and repair the film and most companies do not. You have to consider the initial state of the majority of your film.
I charge for sample films as if it were part of a larger archive. Being a small company and only me here I would spend too much time doing free samples if I did not make a charge. I have yet to provide a sample for a UK company or Institution who did not eventually use my service.
All cinefilm that I digitize will be comprehensively cleaned before I transfer it. Over a film's lifetime of being played and stored it will build up quite a residue. Everything from dust, hairs, oil, grease, fingerprints and various specks. All of these will potentially end up on screen if the film is not thoroughly cleaned first. I use the Industry standard ECCO cinefilm cleaner and I now have 3 of them operational for varying film formats. The fluid used will clean your film without reacting with it so there is no harm to your film whatsoever. Air cleaning is just not sufficient as it will only deal with very loose material leaving everything else behind.
A typical standard 8mm frame is just 5.5mm across, so a 1mm speck will cover almost 20% of the width of the image. Blow that up onto a nice modern 40 inch screen and suddenly it is an 8inch blob on your screen, which cannot be a good thing.
Your films will be returned to you in a far better condition than they have been for many years, cleaned, lubricated and ready for many more years of storage
I have found over the last few years that the more time I spend on your archive BEFORE it gets to the "Memory HD" the better the final outcome. So during the cleaning process I take the films off your reels and put them on professional 1,200ft reels. I make sure all of the leaders are in good condition and the splices are good enough to ensure a smooth transition through my machinery. Within reason I will happily repair two splices per 100ft. Over that I will reserve the right to charge a nominal amount per splice. I have to do this as sometimes I get a 200ft reel with 20 broken splices or similar.
During this process I also keep a close eye on the sprockets to make sure these are in good condition. The "Memory HD" is capstan driven doesn't need sprockets to drive the film However I will repair any severe damage.
After the archive has been digitized your films will be returned to their original reels and returned to you in far better condition than they arrived here.
There are a lot of parameters involved in getting the best possible images from your archive
The final outcome will be vastly superior if this work is done in hardware for each scene individually BEFORE it is captured rather than after the event in software by just putting an "Auto-colour" filter over the whole film. it will take time to programme each scene individually into the "Memory HD" but the on-screen image is just so much better.
The "Memory HD" utilizes "Kolibri" software which allows for two types of pre-capture colour correction RGB and HSL (Hue, Saturation and Luminance). I have the option to manipulate any of the following parameters to get the image as close to perfect as possible - White Balance / Shading balance / Black Balance.
I can also manipulate Colour Hue, Colour Saturation, Colour Luminance and Colour Gain for each of
the following specific colour bands - Red / Green / Blue / Yellow / Cyan / Magenta
I can also moderate: Brightness, Contrast, Gamma, White Gain, Black Gain, White Clip, Black Clip
To negate any digital interference I can then select Digital Noise Reduction and I can choose the colour temperature of the light sphere to 3200k or 5600k.
Finally I have total control of the shutter speed of the Memory HD from "Off" to 1/50000s
It is my job to make sure that every frame of your film is accurately coloured with appropriate exposure. Getting the shadows and highlights right so that you can see individual leaves on a tree whilst still being able to see the folds on a wedding dress. A difficult balance to strike.
One of the new upgrades I have had installed on the "Memory HD" is the ability to pre-program in all of the edit points that the machine will digitize. This means I have the choice to capture every frame of your archive "Warts and all" for preservation purposes or I can remove any un-exposed and blank pieces
At all times I will work with your organizations preferred methods and outcomes to give you the archive that you need. Outcome can be in any codec of your choice anywhere between 13GB and 720GB per hour.
Normally I will store a Home Movie digital archive for up to two years, however if your archive contains historically or commercially sensitive material I can delete this upon confirmation of receipt, back-up and testing of your archive at your premises. This will mean, however, that I will be unable to provide a back up copy at a later date.
For all cinefilm archives I will be using the award winning "Memory HD", manufactured by CTM Debrie which I bought from new and it has been regularly serviced and upgraded to make sure it is always it perfect working order. A .pdf data sheet of this equipment can be obtained from the manufacturer's website here.
Virtually all of my competitors do not name the equipment they use, or who manufactures it. Some have given their equipment a wonderful vague name but do not show a picture of it but just use phrases like "State of the art" which means nothing. Do ask what system they use and who makes it, then check it out on google. I have invested a lot of time and money in the best equipment in the world for digitizing cinefilm. I am really proud of it which is why I am happy to tell you all about it. Also be aware of anybody that tries to tell you that their equipment is "exclusive" to them. No manufacturer in the world will just make one of something. "Exclusive" in this particular case means "Homemade".
I have the only "Memory HD" in private hands in the UK because I have been prepared to invest in the very best. There are about 50 machines like mine around the world.I am not interested in cheap or generic, only the absolute best
One of the main reasons I was looking to invest in a machine like the "Memory HD" was that I was seeing more and more damaged and imperfect film. My previous system, like many others was OK if the film was pristine, it would travel through safely enough. However the slightest imperfection would cause problems. Film that was warped, thin, crispy, bent, poor splicing with any kind of damage to the sprockets or which had shrunk would cause issues that would be seen on screen and in some cases meant the film could not be run at all.
The "Memory HD" is capstan driven with three separate driving motors and very sensitive tension arms. This means that any of the problems listed above will be negated and the image on screen will not have suffered due to the imperfections in the physical film.
So if you know your film is somewhat less that perfect the "Memory HD" allied to my working processes of cleaning, repair and preparation listed elsewhere, you will still get the best possible image on screen.
In early 2012 I had several major upgrades applied to the "Memory HD". One was laser focusing so that I know at any point that the film is in perfect focus with the machine. The other was installing the ability to pre-programme the "Memory HD" with the correct parameters for each scene before capture (See colour correction - parameters).
Many Historical archives have a soundtrack of some sort. I can capture this soundtrack at the same time as I capture the images. Many systems will not allow this and this leads to having to strip the audio separately and then try to match the images to the sound at a later date, this is fraught with difficulty, especially if speech is involved.
Whether your sound is an attached magnetic strip (COMMAG) or an attached Optical strip (COMOPT) it can all be dealt with at the highest possible quality and at all times in full synch with the image.
I have just invested a serious amount of money in a TEAC - P55C Dye Sublimation disc printer. I have done this because I want to make the disc in your hand look as good as the image does on screen. Many of the companies I have transferred film for want to sell on duplicates of the discs I have produced and with this printing system the label can be exactly to your specification with any company logos that you supply.
Using a Dye Sublimation (Thermal) printer with Verbatim Thermal DataLifePlus discs means that the disc label will be waterproof, scratch-proof and it will never, ever fade unlike inkjet printing which is susceptible to all of these three issues. In 20 years the image on your disc will still look strong and not a smudged and faded blur as is typical of inkjet printing.