V2F+ FAQS
 

How good is the quality of video to film transfer.
How much does it cost to transfer a video feature to 35mm film?
Do you provide any discount rates?
Do I really need a transfer to film if I am entering a film festival?
Can you describe your process?
Do you record sound in Dolby?
What is your turnaround time?
What cameras are best suited for video to film transfer?
What’s the difference between professional and prosumer cameras?
Are there any recommended practices for shooting video for transfer to film?
What’s the difference between interlaced and progressive video rates in NTSC and PAL?
So is shooting PAL a better idea than NTSC?
Do you transfer High Definition video to film?
Can you deal with video that also has film originated elements?
Can I use lens filters for a softer look?
Any post productions issues?
Can I use filmlook plug-ins to add grain or diffusion?
I’ve heard that you should not do credit rolls on video for film transfer.
Can you work with digital files?
So can you handle animation?
Do you do tests?

 How good is the quality of video to film transfer.

We rank our quality as the best out there. Our clients, many of whom are experienced film directors, are amazed at the results. We have consistently beaten competitors from Canada, the U.S., and Europe in side by side comparison tests, yet our prices are among the lowest in the world. Our software is what sets us apart. We don't outsource any part of the rendering process. We write our own code for HD/NTSC/PAL conversion to 24fps. That gives us the versatility to handle any specific requirements of a job, and easy access to update the software. We are always looking at improving what is already a world standard in quality.

 How much does it cost to transfer a video feature to 35mm film?

Our SD rate is US$330 / Can$425 per minute. HD is US$385 / Can$495 per minute. Our rates include the negative, optical sound and release print.

 Do you provide any discount rates?

We definitely provide discounted rates if turnaround is not critical or if the payment schedule is accelerated. There are also discounts to first time clients. Get in touch with us and we will do our best to meet your budget. Back to top of the page.

 Do I really need a transfer to film if I am entering a film festival?

Film carries more respect from potential distributors. There are still many festivals that do not have video projectors and if they do, it may not be set up properly. There is also the added versatility of being able to transfer the film back to video for a film look. Film is still the best method of long term archival. If you want to blow up your dv than don't compromise all the hard work you have put into your project only to go with the most convenient or the lowest price. I've seen blow ups in festivals that look horrible. I know a lot depends on the quality of the original footage but there is no excuse for huge motion artifacts or soft cuts or density shifts.

 Can you describe your process?

The process begins with transferring the video uncompressed to one of our digital disk servers. We evaluate the footage and determine the specific input parameters for the render. We then run our V2F+ software which takes the video apart looking for noise, interlace, motion, background, scene cuts and 3/2 pulldown. The footage is reassembled to 24fps, The frames are sharpened, uprezed to 2k resolution and shot frame by frame to fine grain negative stock with our digital film recorders. We can monitor the process at any stage. The sound is recorded onto optical stock. The picture and sound negatives are processed and combined to make the release print.

 Do you record sound in Dolby?

Yes, provided it was mixed accordingly. The sound lab actually records the optical track. There are two labs that we use locally. Sound can be recorded in mono / DolbySR /SRD. SRD is Dolby Digital 5.1 and that requires the mix to be delivered on Magneto Optical disk. Any of the sound transfers are included in our pricing. Let us know what your requirements are and we can discuss the options in further detail.

 What is your turnaround time?

1-4 weeks depending on the length and current workload. Back to top of the page.

 What cameras are best suited for video to film transfer?

It depends on your budget. There are always new cameras coming out but essentially it comes down to 3 categories. HDCAM footage creates the best results by far because of the high resolution and 24fps capture. HD interlaced also looks tremendous. Standard definition professional cameras such as Digital Betacam and DVCPro provide superb results. Even Beta SP is impressive when transferred as long as you maintain little or no generation loss. The previous cameras are quite expensive to own but you may find good deals on camera rental and post rates. But most likely your DV budget is tight so your best bet is the prosumer cameras. But don't fret. Properly shot footage on prosumer cameras can yield amazing results! And don't forget that we have designed our system to work with all types of camera footage. In some cases the prosumer cameras are better suited for more efficient guerilla style shooting. Prosumer models to consider; Canon XL-1/XL-1s, GL1 -- Sony PD150, VX2000, DSR250/ DSR-500WS; (close to pro quality, true 16/9) -- JVC GY-DV500/DV700; (close to pro quality, true 16/9). Try to get 3 chip cameras with the highest resolution CCD.

 What’s the difference between professional and prosumer cameras?

Prosumer cameras were marketed for the consumer camera user that wanted better quality approaching that of professional cameras. Prosumer cameras use the MiniDV or DVCam digital tape format. Professional cameras use 1/2" tape with 4:2:2 component image sampling while prosumer cams use 4:1:1, (Pal uses 4:2:0). The ‘4 ‘ in 4:2:2, refers to the relative sampling rate of the luminance component while the ‘2:2’ refers to the color component sampling. So the color resolution of prosumer cams is half that of professional cams. The size of the ccd’s is generally bigger, (especially with HD) on professional cams and the contrast range is higher. Some prosumer cams only have one chip as opposed to 3 for all professional cameras.

 Are there any recommended practices for shooting video for transfer to film?

Let me preface the following statements by stating that some people may prefer a harsher video look in the transfer and will shoot accordingly. These general recommendations will help provide a transfer that is filmic looking. For NTSC, set your camera with interlace on (progressive off), and the shutter off or 1/60th of a sec. Always use the lowest possible f-stop to achieve the shortest depth of field. ND filters would help compensate. Where applicable, use a lens with the longest focal length, which also creates a short depth of field. Focus is critical, especially in close ups. Use studio monitors on site if possible to check focus, composition and lighting. Light as best you can with good key and fill lighting. And avoid clipping whites or buried shadow detail. This will give you room for color correction in post. Diffuse or flag hot spots especially in exteriors. Turn any auto settings for gain, focus, edge enhancement off. Use a tripod for added stability. Steadycam also has the less expensive mount called Steadycam Jr or Steadycam Mini. Some cameras have optical image stabilizers that work quite well. 16/9 anamorphic is generally a good idea but if the camera is not designed for true 16/9, you really should do it optically with a lens attachment by Optex or Century, (check with your cam manufacturer or see our links). If using 4/3 ccd you should compose shots to allow for approx. 25% cutoff combined top and bottom. There are eyepiece adapters or we can supply a digital safe action grid. There is a new adapter called the P+S Technik Mini 35, introduced in the U.S. and Canada by New Jersey-based ZGC Inc. This adapter allows you to mount 35mm lenses on a canon XL1 or XL1S.

For PAL, it’s pretty much the same except you have the option of shooting in 50 field interlace or 25 frame progressive. Back to top of the page.

 What’s the difference between interlaced and progressive video rates in NTSC and PAL?

NTSC interlaced captures 60 distinct fields per sec. These fields cover top to bottom of the image but skip every other line of resolution. The fields are interlaced or interwoven into full res frames for video display at 30 frames per sec. For progressive, the ccd captures a full res frame 30 times a sec or 25fps for Pal. The images will appear slightly cleaner or crisper but you may see some motion stutter especially if you have a fast shutter on. Our software works best with interlaced video for NTSC in order to create distinct and smooth 24 fps. (Note; if you don’t intend to transfer your video to film then progressive would be best in achieving a more film like quality).

PAL works essentially the same except in 50 field interlaced or 25 frame progressive. It also has about 100 extra lines of resolution over NTSC.

Progressive PAL involves the least processing and therefore yields slightly better results then interlaced PAL. The frame shooting ratio is 1:1 so the film's running time is 4% longer. We harmonize and pitch adjust sound to compensate.

With interlaced PAL however, we give you the option of a shooting ratio of 1:1 or rendering 24fps, thus eliminating the 4% discrepancy in running time.

 So is shooting PAL a better idea than NTSC?

All things considered, PAL will give you slightly better results because of the higher resolution and frame rate, but if you are in North America where the standard is NTSC, the camera’s, sound recorders, tape machines, and editing software that supports PAL is sometimes difficult to find. Plus, it’s an added expense if you already have NTSC equipment. Because we're based in North America, most of our work comes from NTSC video. We've mastered the NTSC transfer and can say without question, you can get great results without having to shoot PAL.

 Do you transfer High Definition video to film?

Yes, we can handle HD as interlaced or progressive video. The results are astounding. Back to top of the page.

 Can you deal with video that also has film originated elements?

Our software also looks for and removes 3/2 pulldown, which occurs during the film transfer to video to resolve the discrepancy in frame rates. Once the 3/2 is removed you get back 24 discrete frames.

 Can I use lens filters for a softer look?

Some of the newer filters designed for a film look, are quite good. Tiffen and Cokin are some examples. You want the edges to look a little smoother but still retain good detail. Some also have a soft clip function. Try experimenting with them if you can. Be careful not to go too far because we need a certain level of sharpness and detail to begin with so that we can properly upres the material to 2k.

 Any post productions issues?

Any effects or cgi that is to be combined with your video, should be rendered the same way as the native video. If the video is interlaced, the cgi effect should be interlaced. There are some exceptions we can discuss, if for example, you are rendering animation as a stand alone scene. At the editing stage, you must conform the video and audio masters into 21 minute (max) lengths. See; (Prepping your video for transfer)

 Can I use filmlook plug-ins to add grain or diffusion?

I wouldn't. Those effects are actually counter productive to our process because they take out important picture detail. Our software and the added natural grain and diffusion properties of film will create an inherent film feel. You can also transfer the film back to video if you want a filmlook video version. Back to top of the page.

 I’ve heard that you should not do credit rolls on video for film transfer.

Generally that’s true. For the best results, credit rolls or scrolls should be done at 24 fps in full non-interlaced frames. There are guidelines for the speed that a roll can run in film before it strobes. That’s why film credits appear to run so slow compared to TV credits. We can discuss the guidelines with you. We can provide a free high-res version rendered from your supplied word or illustrator file. We could send back a video version for you to edit for timing. You can also have them shot traditionally at an optical house.

 Can you work with digital files?

Yes we can work with digital files in any resolution up to 4k. It’s not necessary for you to change or uprez files from their native resolution at your end. We can handle quicktime, tif, yuv, tga, pict, rla, sgi, rgb, cin. Storage mediums can be CD, Jaz, Zip, Dat, Exabyte, DLT, and external hard drive.

 So can you handle animation?

Yes on video or archived digital files. It’s best to render in whole frames at 24fps. With digital files you can render to any resolution up to 4k. Remember to allow for 1.85 film aspect.

 Do you do tests?

Yes we do and I would recommend contacting us even before you start shooting if possible. We charge Can$150 / US$100 per minute for mos tests. The test price will be credited toward the full feature up to a 2 min rate. There are also promotional periods when we do offer free tests. We also provide a free evaluation of the test footage and discuss any technical issues that may need to be addressed. Back to top of the page.