Modern frame-by-frame cine scanning
Today’s preferred workflow is to scan each cine frame individually, handle the film gently and create progressive digital files without filming a projected image. We work with Super 8, Standard 8, 9.5mm and 16mm film.
Our six-stage workflow
Film condition, gauge and intended use are considered before capture. The settings are then adjusted for the reel rather than forcing every film through the same preset.
We identify the gauge, check reel loading, joins, leaders and obvious damage, and look for brittleness, mould or vinegar syndrome. If specialist work is needed, we stop and discuss it with you first.
Soft rollers and capstan control guide the film by its edges.
Adjustable tension and a low-heat LED light source reduce strain on ageing film, including reels with worn or damaged perforations.
Each frame is captured as a progressive digital image. Optical or sensor-based registration keeps the picture aligned while a full-frame capture leaves room for accurate framing and later stabilisation.
This avoids the interlacing, projection flicker and uneven focus associated with older projector-to-camera transfers.
Exposure, focus and colour balance are checked against the film itself. Corrections are kept measured so highlights, shadow detail and the character of the original stock are not unnecessarily lost.
Colour, black-and-white, positive and compatible negative materials require different settings.
The captured frames are assembled at a playback speed suited to the original recording, rather than applying one speed to every reel.
This helps movement look natural and avoids unwanted flicker.
We review orientation, framing, steadiness, joins, representative scenes and file playback.
Viewing and editing files are created from the completed scan, and your original reels are rewound and returned.
Current scanning practice
A good workflow separates the film scan from later processing and delivery. That preserves more choices and avoids baking unnecessary compromises into the only digital copy.
The film’s original aspect ratio is retained. We do not stretch a near-square 8mm image to fill a widescreen frame or crop away picture information simply to remove side bars.
Capture settings should reflect the film gauge, image detail, condition and intended use. A family viewing copy and an archival or production project do not always need the same workflow.
For archive or production work, ask before ordering about full-frame overscan, higher-quality capture or image-sequence requirements.
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Tell us the gauges, reel sizes and intended use, and we will recommend an appropriate capture and delivery format.
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