Note: if you experience a delay in the videos above, the files are downloading.
Thank you for finding Blue Cloud Video.
My wife and I started Blue Cloud Video to provide people with the chance to connect with their past.
We started that by creating photo video albums or photo montages.
One of our first projects was a 90th birthday.
She gathered all of her memories and favorite music and we put together a life story.
Everyone watching cried.
This is where we started.
We then expanded into high quality film transfer in 2004 and everyone was astounded at the quality of their films.
We hope you enjoy your visit.
Hopefully you will learn something about the film to DVD process and are one step closer to preserving your memories.
Sincerely,
Matthew
Owner - Blue Cloud Video
8mm to DVD / Super 8mm to DVD / 16 mm Film to DVD
Blue Cloud Video uses the Frame by Frame capture
method.
The Frame by Frame capture is a telecine transfer
in which the image is taken from the emulsion side of
the film using a 3CCD digital camera. The film is enlarged enough so
that you can see the grain of the film.
THERE IS
NO FLICKER because each frame is captured and reassembled into a video similar to a cartoon.
The film is then timed to 18 or 24 frames
per second (Super 8mm film and super 8mm sound film), 15 frames per second (8mm film) and 16 or 24 frames per second (16 mm film).
We will make sure this is the correct speed before applying it and we have the ability to change the speed to any number we desire.
We use a modified Sniper Pro from Moviestuff - PC magazine compared this process to the rank
transfer (cost of Rank = $50/50 ft + setup fees), PC magazine gave the Moviestuff system EXCELLENT results. Please read the article
here: PC magazine article on Workprinter
In addition to the quality of the transfer, Blue Cloud Video provides the following:
- 3CCD professional camera to transfer your film
- Every order gets automatic color correction
- JewelBox packaging system
- Camera Shake Reduction Available
- Cleaning and splicing of your film
- New Archive Quality Reels and Cans
and FREE splicing
- Precise chapter points for your DVD at each film splice
- AVI files to your hard drive available
- 100% Guarantee
When shopping around, be aware that the camera is the key to great transfers. Ask what camera they use.
Below is an example of a 1CCD capture vs. 3CCD capture:
Below is an example of a customer's film that he got transferred locally to him (about 80 miles away from us) that did not meet his quality standards. He wanted to get it done locally because he didn't want it shipped. However, before deciding to use this company, he discussed his project with us and decided to use the local company.
The company didn't do their transfers in-house, and were separate from the quality process. It took 5 weeks. He got the result and demanded to have it re-transferred. 5 weeks later, the same, but worse result is shown below.
He then came to blue cloud video stating that he should have come to us first.
On the left is the example of the other company's result. I'm not going to list the other company's name.
On
on the right, is blue cloud video's result.
These were both to DVD and within a month from each other.
If you have had your film transferred to VHS years ago, look at the difference we can make.
This is why you shouldn't throw your film away. Technology improves!
Below are some
examples of old VHS film transfers compared to Blue
Cloud Video's process:
Blue Cloud Video has the ability to color correct
your 8mm film.
Below is a screen shot from my mother's 8mm film.
The film had a blue cast. We were able to correct
the color and the result speaks for itself.
Color Correction is included in Every Film Transfer Order
Removing Camera Shake
Were you nervous when filming?
Probably not. But the old super 8mm and 8mm cameras did not have camera shake reduction like today's cameras do.
And most of you did not have a tripod.
Why would you?
The point was to capture fleeting moments at any moment.
Our camera shake reduction process is automatic. It takes the frame before and after and moves it to line up so it will flow.
The only drawback to the process is that it may require some cropping of the image.
The sample we show in the Flash Presentation above of the bird is an actual result of the process.
This can only be done in small increments and is labor and time intensive to ensure the best result.
We realize you may have not seen your films in 60 years.
If so, let us know if you would like us to recommend areas to reduce the camera shake.
Edit your Own Movies
We can provide the raw AVI files of your footage for a nominal fee.
With your AVI files you can edit the video with the uncompressed files.
Every order gets a DVD.
We recommend sending a hard drive or purchasing a hard drive from us for as little as $100. (price depends on availability)
Due to liability reasons, we recommend buying a hard drive from us.
Otherwise, we are NOT responsible for lost files or hard drives that could be damaged that you send to us.
Packaging your Memories
Since we started in 2002, we have been searching for the perfect DVD packaging system for your memories.
We have tried clear jewel boxes, DVD cases from office max, and other places but nothing matched the importance of your memories.
We loved this system.
Each project can be custom made. They are durable and will stand out on your shelf.
Each film transfer order gets the jewel box system customized to your order.
How we archive your 8mm film and Super 8mm film
One DVD copy is included with your order.
A DVD copy is not a true ARCHIVE of your film because
the footage is compressed to MPEG 2.
It is however, a great
way to view your film on the television.
This is the first step in preserving your film.
Once you have your film on DVD, you can watch it over and over while your film is in a safe place.
You can then hand down your archived reels to the next generation, ready to transfer to what ever their technology may be.
We do not recommend putting your movies onto VHS, but we can do it.
VHS is created using magnetism.
Each time you watch your footage, the magnetism slowly goes away and
will degrade every time you view it
DVD and BluRay is currently the
best technology to view your memories over and over.
A frequent question we get asked is:
How many reels can fit onto a DVD?
The quick answer is 22 to 24 50 ft reels or 1200 ft.
A DVD can hold approximately 1 hour of sound and video at 8 Mb/s compression.
We do not
compress more than 1 hour of footage onto a DVD (unless requested) since the MPEG-2 format is already compressed. We have compressed up to 6 hours of footage onto one DVD.
Blue Cloud Video will keep your film on our server for up
to 30 days in case you would like a re-sequence, extra copy, or AVI files to a hard drive. We recommend just getting your AVI files now so you won't have to worry about retransferring your film.
Your
footage is then deleted without notice. If you would like extra
copies after that time, or have a mistake corrected, the original DVD's must be sent back
so we can provide you with extra copies, or we will retransfer the
film at the listed cost.
After 30 days, you will be charged for a retransfer. EVEN if there was an issue with the film transfer.
Archive with your film reels
Do not throw out your old film reels. Original film/slides/negatives
are the best way to archive media.
Store them in a cool dry place after your DVD's are created. Your DVD's should only be considered a 'viewing medium' not an archive.
Do not store your films in ziploc bags. The films need oxygen to prevent breakdown.
You may get your films back in plastic bags, but this is just to protect and organize them during shipment.
We will splice your loose 50 ft reels onto new Taylor ReelTM reels. Specifically designed to be archive quality. If you do not want this service, please let us know and we will return your film on your small reels prior to shipment at no additional charge. We try to inform you that we provide this service free of charge when you order.
We also give you plastic cases to protect your film after we splice; An extra that no other company does!
16 mm film is returned to the original reels when possible.
No Minimum Charge
Blue cloud video does NOT require a minimum charge. You
can convert one 3-inch reel (50 ft), or 250+ 3-inch reels. You
will be paying the same price per 50ft, plus
return shipping.
8mm / 16mm and Super 8mm Film Transfer Length and sizes
8mm Film (15 fps - 80 frames per foot)
50 ft reel (3 inches) = 4:26 minutes
100 ft reel (4 inches) = 8:53 minutes
200 ft reel (5 inches) = 17:46 minutes
300 ft reel (6 inches) = 26:40 minutes
400 ft reel (7 inches) = 35:33 minutes
Super 8mm Film (18 fps - 72 frames per foot)
50 ft reel (3 inches) = 3:20 minutes
100 ft reel (4 inches) = 6:40 minutes
200 ft reel (5 inches) = 13:20 minutes
300 ft reel (6 inches) = 20:00 minutes
400 ft reel (7 inches) = 26:40 minutes
16 mm (24 fps - 40 frames per foot)
100 ft reel (3.5 inches) = 2:46 minutes
200 ft reel (5 inches) = 5:33 minutes
300 ft reel (6 inches) = 8:20 minutes
400 ft reel (7 inches) = 11:06 minutes
600 ft reel (9 inches) = 16:40 minutes
800 ft reel (10 inches) = 22:13 minutes
900 ft reel (7 inches) = 25:00 minutes
1200 ft reel (12 inches) = 33:20 minutes
1600 ft reel (16 inches) = 44:26 minutes
A DVD will hold about 1.5 hours of 8mm film (without music).
or 1200 ft.
Get an accurate estimate using this automatic film calculator from Kodak: Film Calculator
Please call us with any questions you may have.
734-462-3592
8mm and 16mm Film History
The origin of the small gauge formats
16mm Film
The 16mm format was introduced as a system for amateur use in 1923 by Eastman Kodak in cooperation with Bell & Howell and Victor. These film and equipment manufacturers believe that this new system, less costly than the professionally employed 35mm, would be attractive to the general public. Previously, 17.5 mm film, and corresponding equipment, had been offered for amateur use, but Kodak wanted to discourage the use of this gauge which could be cut down, or slit, from combustible 35 mm film.
At that time, and as late as the fifties, 35mm theatrical films were shot and printed on cellulose nitrate base film. Cellulose nitrate is both highly combustible and susceptible to rapid deterioration in storage. Kodak's intention was to avoid the hazard of using, and the stringent requirements for projection of, nitrate base film by making the new format available only in safety base - cellulose acetate. Cellulose acetate base film is neither as combustible nor as subject to deterioration as the nitrate variety. If 17.5mm film had become the amateur standard, slit nitrate stock might have been offered for sale. Since 15mm film, however, cannot be cut economically from 35mm stock, this was avoided.
From the beginning, 16mm film was marketed as black and white reversal film, which can be projected and viewed as a normal image. This advantage would be attractive to the amateur since the actual camera film could be projected without the additional expense and delay of having a print made as the 35mm negative to positive system required.
16mm film did not have as much use as they hoped as home movie film as 35mm had with movie film.
It was not until the second world war that many people were exposed to 16mm filmmaking and technology. Then, the need for portable equipment to handle training and entertainment films led to the setting up of military standards for 16mm performance. Gradually, the virtues of 16mm became more generally known, and 16mm film stock and equipment were substantially improved.
Without commercials, TV news films, training films and documentaries, the creative home filmmaker would not have available this relatively high quality and technically sophisticated medium.
16mm's image is 4.5 times the area of the standard 8mm image, and about 3.5 times the area of the super 8 image. We can therefore expect crisper images and also better sound quality since its track has a greater width and travels at a higher speed.
There are two forms of the 16mm format: a double perforation, and a single perforation. 16mm was originally introduced in the double perforation form - sprocket holes along both edges of the film. One of the perforation row as was eliminated to make room for the sound track. For decades this space was used for optical sound track, but magnetic was used as well. There is a balance stripe on the other side of the film to keep the film spooled properly for the magnetic film.
Double 8mm film
By the early thirties it was believed in Rochester that 16mm film could be used in appropriately designed cameras to produce pictures half the height and width of the standard 16mm frame.
One half of the film could be used in appropriately designed cameras to produce pictures half the height and width of the standard 16mm frame. This is similar to the method used on dual track tape recorders.
After processing, the customer would send it to the lab and they would slit the film in half and spliced the halves together on a single reel.
Cameras and projectors had to be manufactured for the new format, and only slight modification of existing film specifications was necessary (it had to have twice as many perforations). One advantage, from the manufacturer's point of view, was the high degree of compatibility between the manufacture and processing 16mm and double 8 film. The amateur could be served by a medium of lesser quality, but with the advantage of greater economy.
Super 8mm Film
Despite growing quality in 8mm film and equipment, slumping sales helped encourage Eastman Kodak to seek out yet another new system for amateur use. One problem that had to be solved was the loading of film into the camera.
Kodak and Bell and Howell offered double 8mm film in cartridges, but they jammed so much that they had to be loaded by the factory, after time consuming and costly inspection, with fresh film.
After several years of research, Kodak offered super 8 format film in Instamatic cartridges in 1965. Super 8, and its Japanese equivalent, single 8, are the two latest (and last) additions to the filmmaker's choice in film format.
9.5 mm film
In England and France, a 9.5 mm format was produced. Introduced and popularized in Europe by Pathe, 9.5 mm was more or less killed off after 8mm's introduction, but some film by 3M and Kodak, and some equipment by Pathe, Heurtier and other European manufactures is offered.
The image area of 9.5mm is very nearly the same as 16mm. The perforations run down the center of the film between the frames.
Cameras and projectors for 9.5mm equipment can be produced in a smaller size for 16mm with an equivalent image quality. It did not become popular due to the equipment was only available in England and France.
Comparing 8mm and Super 8mm film
While both formats are 8mm wide, the super 8mm image is 50% larger than 8mm film.
Super 8mm perforations are narrower than the 8mm image so that the image size could be made wider and taller to retain the standard 1.33:1 aspect ratio. So the perforations had to be placed farther apart.
Also, the perforations have been changed so that they are along the side of each frame, not between the frame, as for 8mm.
Because of the greater height, the same running time, at the same number for frames per second, it uses about 10% more film than regular 8mm film.
Super 8mm sound Tracks and 8mm sound tracks
Standard 8mm sound track is adjacent to the perforations, while the super 8 track is opposite the perforations.
Figure 1: Super 8mm film has a sound track and a balance stripe on the perforation side.
Figure 2: 8mm sound film only has the magnetic track on the perforation side.
Coating or striping 8mm or super 8 with iron oxide magnetic material converts it into a form of magnetic tape. Magnetic oxide can be coated in the track positions before or after the film is processed. Similarly, the track can be recorded before or after the film is processed.
8mm magnetic sound projectors were made by Toei talkie, and Viewlex and Petri Kine Camera Co will play back optical 8mm film tracks. The image-sound separation for 8mm is 56 frames, which means that the magnetic sound recording precedes the picture by about eight inches.
The image-sound separation for Super 8 is 18 frames which means that there is a lag of only 2/3 second magnetic track between image and sound at 24fps.
Since the sound stripe is raised above the film, a balance stripe of the same material is applied to the perforated side so that super 8 film will spool properly on the reel.
There is no room on 8mm for a balance stripe.
Both the 8mm and Super 8mm sound tracks are 0.03 inches wide (0.762 mm).
Super 8mm has superior sound from the 8mm for two reasons.
1. The stripe is located opposite the perforation side to prevent depressions, or valleys, in the surface of the film; oxide falling into these valleys would be held away from the recording or playback heads resulting reduced volume for that segment of the track. This cannot happen to the super 8 track which is separated from the perforations.
2. Since super 8mm film runs faster than 8mm film, increased speed in magnetic recording and reproduction devices can improve the high frequency or treble range and reduce wow and flutter, or variations in tape speed, which sound like changes in pitch.
8mm film and Super 8mm Film Compatibility
If quality was the only improvement from 8mm film to Super 8mm film, why not chose a larger film, say 9mm or 10mm wide? Well, keeping the width 8mm's wide allowed manufacturers to make multi-format cameras and projectors. This rocketed the Super 8mm format as the users with 8mm film cameras and equipment would buy new cameras and new multi-format projectors so that they could get the better quality.
