Q. What film formats and running speeds can you handle?
A. We are able to transfer SD (standard definition) from 16mm (1.33:1 format) and academy frame 35mm (1.33:1 format) or any of the hard masked 35mm wide screen formats and from 35mm anamorphic (2.35:1). We can accept negative, reversal or positive film at 24fps, only.  

Q. What video formats can you transfer onto?
A. We can transfer to Mini DV*, DVD-R, Super-VHS & VHS, Hi-8 & Video 8 and to Betacam. (* Mini DV tapes will play back directly on all DVCAM decks and can also be played back on all DVCPRO decks using the AJ-CS750 cassette adaptor, which sells for around $40.00, from Panasonic. We also offer transfers direct to digital DV files for both Mac and PC users. Clients can request a DVD-ROM disc of their transfer session containing pure, high quality DV files they can open directly with their host NLE software such as Premiere Pro, Final Cut Pro, etc. We can also accept a client's external USB hard drive as the storage medium.

Q. Why should I consider using TFG for my film transfers?
A. Well, for one thing we have over 20 years experience transferring all kinds of film to video tape. Second, the Marconi Transfer service we have established has been set up specifically to cater to the student and independent filmmaker. We are not offering a "quicky transfer" or an "off hours" rate to make a few extra bucks in between our high paying important jobs. You and your film are our important job and we take both very seriously. You will receive the same individual attention to detail as anyone else.

Q. How do you charge for your services?
A. This is a professional service and as such we expect professionalism on the part of the clients who use our service. Charges are based on an hourly rate for the time spent working on your film transfer and begin to accrue the moment your first film can is loaded onto the telecine. For this reason, it is important that all film sent in or delivered to us be prepped properly for transfer (see below for a description). Any delays in the process caused by inadequate prepping will be charged for at the full telecine hourly rate.

Q. How should my film be prepared before I send/deliver it to you for the transfer?
A. All negative film original should be ultrasonic solvent cleaned and prepped for transfer by the processing lab before it leaves their premises. This is a very important step that will add only a few cents to the initial film developing cost but will greatly enhance the transferability of the film stock. Ultrasonic solvent cleaning, when carried out correctly with two separate passes, not only removes most of the dirt and dust from the film it will also remove the residual chemicals that may still remain after the processing stage. All film must have at least 15 feet of white head and tail leader on each core. The maximum size load we prefer is an 800 foot core for 16mm and 1200 feet for 35mm.

Q. How should I explain to the colorist exactly what I need done during the transfer?
A. The easiest way to communicate to the colorist before the transfer is to call him and talk about your project, first. When it comes time to send in your film you should include a camera report for each core. If there are takes you know you will definitely not be using in your project, mark them accordingly and we will not waste valuable time on them. Camera reports are available from our Downloads page. You should also, at the very least, provide a properly exposed grey card at the head of each reel and also for any drastic or important scene changes. We need about 10 seconds to calibrate the telecine for the particular film stock you are using. Eastman Kodak makes an excellent three-patch grey card called the Grey Card Plus that provides for black, white and neutral grey. Ask your dealer for Cat. No. 847-8174. They even have an excellent article on exactly how to properly use and expose the grey card. Even if you cannot afford this pricey version, Kodak also makes their R-27 grey card pack, Cat. No. E152-7795, that comes with two 8 X 10 inch and one 4 x 5 inch 18% cards. The set costs less than $15 and can be found at most photo/camera shops. When shooting the grey card make sure to fill at least 50% of the frame with the card. We also suggest you affix a black matte finish poster board to the back of one of the cards. This will allow you to give us 10 seconds of grey and another 10 seconds of black. Providing this simple reference will save us a great deal of time in telecine and save you some money, as well. We also have our own article on shooting the grey card available on our Downloads page.

Q. What is meant by the term "one-light" transfer?
A. After the reel is loaded onto the telecine we begin by setting a reference for RGB white and black balance based on the particular film stock. The colorist will then run the film down from the beginning for a few feet looking for a grey card or, if that has not been provided, what looks to be an actual first scene. That is, one that is seemingly exposed correctly and framed up. At that point the he will adjust the telecine parameters accordingly based on that one specific scene. He will correct both density and color to what looks normal using his experience as a guide. If a camera report, such as the one we make available, has been provided the DP can mark a specific scene based on footage location that should be used to make the overall correction for the entire reel. The film is then rewound to the head, the tape machine started, color bars are laid down and the telecine is rolled forward at normal speed. That initial scene will set the stage, so to speak, for all that follows in terms of density and colorimetry. However, if the initial scene used to adjust the system is not representative of the overall reel and/or if there are changes in exposure and lighting sources throughout the reel, these sections will not rendered as properly corrected. One light transfers are very useful for checking how you have actually exposed your film and are sometimes referred to as "dailies". They can also be used to transfer fully timed film prints where all or most of the corrective work has already been done in the optical printing stage.

Q. What is meant by the term "best-light" transfer?
A. Different facilities do these transfers differently. When we do a best-light transfer we begin by setting a reference for RGB white and black balance based on the particular film stock. The procedure at this point involves rolling down to each new scene or grey card and adjusting the telecine accordingly. The colorist will correct both density and color to what looks normal using his experience as a guide. Each change is saved to the computer based on the film frame count. If a camera report, such as the one we make available, has been provided the colorist will also program in any requested corrections or special effects. When the entire reel has been run down it is rewound to the head, the tape machine started, color bars are laid down and the telecine is rolled forward at normal speed. At this point the color correction computer will make the changes required in real time. A best-light transfer will give a more pleasing result overall since any discrepancies in the initial photography will, for the most part and as is technically feasible, be fully corrected on the tape master. A best-light transfer should be the chosen method of transfer for camera original.

Q. How does a "best-light" transfer differ from a "scene-by-scene" transfer?
A. The main difference is that a scene-by-scene transfer takes into account how the various shots relate to each other. That is, if one scene follows another in the final film or several scenes are connected somehow either by taking place in the same room, or happen at the same time of day then they must match each other very closely or the fact that they were shot out of context or on different days will become apparent. Generally speaking, scene-by-scene transfers are performed on fully edited films or prints where the scenes are now in proper relation to each other and not to camera original loads.

Q. How long does it take to transfer film?
A. You should expect it to take anywhere from 1.5 to 2 times the running time of the film for one-light transfers from uncut camera original, 2 to 6 times the running time for a best-light transfer from uncut camera original and 6 to 10 times the running time for full scene-by-scene, color and/or density correction from edited or spliced film. Transfer times will vary depending on the number of scene changes, density values and colorimetry.

Q. I have a completed film project that consists of spliced negative. Is this safe to transfer?
A. There is always a possibility, though slight, that a cement spliced film will break during the transfer and seriously scratch or otherwise damage the negative. It is advisable to have the film lab strike a print from the negative using a special low contrast print stock such as Kodak's Vision Teleprint 2395/3395 designed specifically for telecine transfer. 

Q. How do you handle the sound transfer?
A. We do not offer a locked transfer of your audio during the video transfer. However, this process is easy enough for you to accomplish yourself using your computer. The procedure involves first transferring your location audio from the DAT or Mini Disc onto the hard drive. From there you will need to make an overall, one-time adjustment to the duration of each individual "take". This is because the film you originally shot at 24fps will actually be transferred to video at 23.97fps. There will be difference of 1/10th of 1% between the final speed of the picture and that of the sound. Once you have applied this correction to each of your audio files, you can import them into your video editing software and place them on the time line. As long as you have provided proper slate markings on the picture and sound tracks, it is now a simple matter to match up the "dailies".

Apple's Final Cut Pro actually makes this procedure a snap. Using the modify speed command you simply change the speed of the audio clip from the default 100% setting to a new downcoverted speed of 99.9%. Place the corresponding picture clip on the timeline and match the two up using their clap markings. Now link them together and you're good to go!

If you are a PC user and you already have an audio editing program, you may have the required functions you need. Check the software manual to see if you can apply a speed correction in .1% increments. If not, you may need to purchase a small audio editing utility like Goldwave (www.Goldwave.com).

Using your existing program or using Goldwave you must correct the speed of each the wave file downwards by the required negative 1/10 of 1 percent (-.1%).  

Using Goldwave, here is how to do it:

Go to >Effects >Time Warp >Speed and input the factor of ".999". Press "OK".

The wave file will be downconverted in speed by -.1% (negative 1/10 of 1%) and will now be in sync with your telecine transfers done at 23.976.

If you are a MAC user, you can also use Goldwave but you will have to export your files to a PC as either WAVE or AIFF-C for Goldwave to work with them.

Q. Do you allow the client to be present during the transfer?
A. Yes, transfers where the client is present can be arranged, however for supervised transfers our normal rate of $90/hour, with a one-hour minimum, will be charged. This will allow you to sit in on the transfer and provide whatever creative input you feel necessary to unsure the final result is exacly what you're after. Call us for more information.

Q. Can you produce transfers I can use for matchback EDL editing of my film?
A. Yes, we can. Basically, there are two schools of thought on how this is accomplished. There is the New York method which does not require (or desire) the translation of the films barcode (Keykode) during the transfer to video and there is the method used by most of the rest of the country, that does. The so called Avid method. Since we do not have a Keykode reader on our telecine we cannot offer the latter at the present time. We can offer the New York method and we do this at no additional charge. The film will be transferred to Betacam along with VITC/LTC time code and a window burn. Your EDL system must be capable of reading time code during the capture from Beta to the hard drive.

Q. How do I handle the edited audio when I complete my matchback EDL?
A. After editing your film project using an Avid or Final Cut Pro you will be turning the EDL over to your negative matcher to conform your camera original to match what you have done during the video editing process. The audio, however, is another matter. Here, you have two choices. If you will be requiring additional audio sweetening, narration and music recording or more advanced sound mixing you will probably need to go to an outside audio post house. In this case, you will create what is called an OMF file from your non linear editor. An OMF file will contain not only all the audio files but all the time line edit references, as well. The post house will open this file in a system like Protools and go to work. When they finish they will create a time coded DAT tape of the mix that will be used by the film lab to create an optical negative to be married to your picture. The second option is for you to complete all the audio work yourself. If this will be the case, you will need to generate the time coded DAT tape for the film lab. The DAT must be capable of generating timecode because it is required by the film lab to do the pull-up of the sound to film speed. In order to insure sync, you must check your final mix against a transfer of either the cut negative or an answer print. There are a variety of innacuracies that may occur between the offline EDL and your print, a check against your final picture is a must. Also, make certain you have provided the proper academy countdown leader at the head of the edit including the "bloop" tone. It is this audible mark that will be used by the film lab to sync up the sound track to the picture when it comes time to make the prints.

Q. Can you do variable speed film transfers?
A. No. The speed is fixed at 24fps (23.976). However, we can alter the speed to almost any rate using software after the transfer is completed. Call us for more information.

Home