Author: A/MCP

  • What’s the best format for storing digital movies?

    What’s the best format for storing digital movies?

    The Ultimate Guide to Storing Digital Movies: Formats, Solutions, and Tips

    In today’s digital age, the way we store and enjoy movies has evolved significantly. With the advancement of technology, it’s easier than ever to digitize your VHS tapes, Hi8 camcorder footage, copy DVDs and Blu-rays, and store them in digital formats for convenient access and viewing. In this article, we will explore the best solutions and address common problems encountered during the digitization process. As a trusted resource in the industry, Michael Conti Productions has compiled a list of best format for storing digital movie recommendations to help you preserve and enjoy your movie collection. Read on to discover the optimal format for storing your digital movies and how to achieve it.

    Click here to check out the SanDisk-512GB-Ultra-Flash-Drive on Amazon.

    Updated: The best format for storing digital movies in 2023

    Understanding the Different Formats:

    • What are the various digital formats available for storing movies?
    • Which format is best suited for long-term storage and compatibility across devices?
    • Are there any specific considerations when choosing a format?

    Most DVDs store movies in the standard MPEG-2 format (aka H.262) defined by the Motion Pictures Expert Group, though MPEG-1 is also supported. The video is held in VOB (Video Object) files. The video is interlaced for display on ordinary TV sets. The result is a resolution of 720 x 576 pixels at 25 frames per second, for 50Hz TV sets, or a resolution of 720 x 480 pixels at 29.97 frames per second, for 60Hz TV sets.

    Copying DVDs and Blu-rays

    • Is it legal to make digital copies of DVDs and Blu-rays?
    • What tools and software can be used for copying DVDs and Blu-rays?
    • How can you ensure the best possible quality when copying these physical formats?

    MPEG-2 was the obvious choice for DVDs as it was already being used for broadcast and cable television. The 720 x 480 format came from America’s NTSC television system and 720 x 576 from Europe’s PAL.

    ISO or MPEG?

    If you want to preserve everything on a DVD, then the simplest option is to copy the whole disc as an ISO disc image. You could burn this copy to another DVD for backup purposes. You could also play the ISO disc image using a software DVD player, including VideoLan’s VLC, or rip it using your choice of DVD ripping software.

    What you have done so far is to rip a couple of DVDs to MPEG-2 (.mpg), so you may have the full original video for storing digital movies, but de-interlaced so it is now in the progressive display format used by computer monitors and HD TVs. However, you will probably have lost any extras, including VMG (video manager) files, subtitles, hidden files, adverts and alternative audio formats. DVDs can have audio tracks in PCM, DTS, MPEG-1 Audio Layer II (MP2), or Dolby Digital (AC-3) format. MP2 and AC-3 are the most common, and if you have to pick one of those, choose AC-3. It is much more efficient (smaller files) and sounds better than MP2, which is antique – though, sadly, it’s still used in Britain’s antique DAB radios.

    For future-proofing, MPEG-2 files are the next best thing to ISO images, and I don’t foresee a time when PCs will be unable to play them. As with MP3 audio files, there are just too many around.

    Making Movies into Digital Formats

    Converting VHS tapes to digital formats comes with its own set of challenges. Here are some common hurdles you may encounter during the digitization process:

    • Degradation of VHS Tapes
    • Equipment Compatibility
    • Time and Labor Intensive
    • Quality Limitations
    • Copyright Restrictions
    • Audio and Video Sync Issues

    Over time, VHS tapes can experience audio and video synchronization problems, where the sound may be slightly ahead or behind the visuals. This can be challenging to correct during the digitization process and may require additional editing or adjustments afterward. The screen shot below by the author is after using Adobe Premiere Pro color grading tools as part of the post process to maintain the video quality as high as possible for future viewers. Those sweet memories are important to remember.

    best format for storing digital movies
    Filmmaker with his daughter (refurbished screen shot from Sony CCD-TRV228E Hi8 Video8 8mm Handycam Camcorder)

    VHS technology is outdated, and finding VCRs or camcorders that can play VHS tapes may be challenging. Moreover, connecting the VCR to modern computers or devices for digitization purposes can be problematic due to differing connection standards.

    What equipment and software are needed for a successful digitization process?

    • Are there any recommended techniques to enhance the quality of VHS-to-digital conversions?

    Digitizing VHS tapes is a time-consuming process. You need to play each tape in real-time while recording it onto a digital format. This can be a labor-intensive task, especially if you have a large collection of tapes.

    One product that might be helpful keeps your home movies in top condition by converting them from VHS to DVD easily with Roxio Easy VHS to DVD 3 Plus. More than just a VHS to DVD converter, this software has all the tools you need to enhance an older video. Add transitions, DVD menus, and rolling credits before sharing your movie digitally or on DVD. Unfortunately, that won’t work on Studio produced VHS tapes like Disney that have Macrovision copy protection enabled. This works by adding certain codes to these control lines that are interpreted by an Automatic Gain Control chip in a VCR to scramble the video signal if the video is being recorded. You can still watch the movie, but when you go to record it, there is a defect in the video signal on your recording. This defeats storing digital movies.

    best format for storing digital movies
    Roxio Easy VHS to DVD 3 Plus

    If you have a DVD to copy, your solution becomes easier as you will read below.

    Despite these challenges, with proper equipment, care, and patience, you can successfully convert your VHS tapes to digital formats. It’s advisable to seek professional digitization services or consult reputable resources for guidance if you are unfamiliar with the process.

    Storing and Organizing Your Digital Movie Collection

    Digitization of personal recordings or tapes without copyright protection is typically permissible, but it’s essential to be aware of the legal limitations.

    Computers and processors have become cheaper and much more powerful since MPEG-2 was specified in the 1990s. This means we can now use much greater levels of compression to make files smaller, and yet still decode them fast enough to keep up the frame rate. This led to the Blu-ray optical disc format, which mandates support for two new video standards: MPEG-4 AVC (Advanced Video Coding) and VC-1, the latter being based on Microsoft’s WMV-9. Some early Blu-ray discs actually used MPEG-2, as that was the basis for digital production at the time. However, H.264/MPEG-4 Part 10 AVC – commonly known as H.264 – is the most widely used format.

    Blu-ray movies usually come in 16:9 widescreen resolutions of 1280 x 720 pixels, which is known as HD (High Definition) or 720p, or 1920 x 1080 pixels, which is Full HD or 1080p, where p stands for “progressive”. Blu-ray also allows for the use of interlaced video and the 4:3 DVD formats for backwards compatibility. HD TV sets will de-interlace videos automatically.

    Now, video consumes a huge amount of space, so both DVDs and BDs use lossy compression to make the files smaller. MPEG-2 and MPEG-4 files are the equivalent of MP3 audio files in that respect. And, as you know, “transcoding” from one lossy format to another involves a loss in quality. It’s something to avoid if possible, and if not, to do only once.

    Fortunately, this usually isn’t a problem if you’re reducing the movie’s resolution – for example, converting a 1080p video to 720p to get a much smaller file size – or viewing it on a smaller screen. It can be a problem if you are “upscaling” a DVD movie to 720p or 1080p.

    Therefore, the resulting digital files may not meet the visual standards expected from today’s high-definition displays.

    Storing Digital Movies for iPads and iPhones

    You don’t have much choice if you want to use Apple iTunes and watch movies natively on an iPad or iPhone. Apple makes things simpler by eliminating dozens of popular alternatives (AVI, WMV, DivX, Xvid, FLV, MKV etc) and only allowing two real digital video options: MPEG-4 at 640 x 480 pixels and H.264 at up to 720p on most iPads, and up to 1080p on the iPad mini and iPad Air. Both formats are MPEG-4, so what’s the difference? MPEG-4 comes in lots of varieties and H.264 is actually MPEG-4 AVC Part 10.

    The alternative is to use a third-party video player, such as VideoLan’s open source VLC for iOS. The website says it “can play all your movies and shows in most formats directly without conversion” and it works with iTunes.

    If you decide to convert files, for storing digital movies, it depends on your DVDs and your iPhone and iPad. Download one of the free video converters and transcode your 720 x 576 MPEG-2 movies into 640 x 480 MPEG-4 movies, which iTunes should be happy to accept. If you have any widescreen movies, then I’d convert them to H.264/AVC in the 720p format. You might get a little extra quality for storing your digital movies if your iPad supports 1080p, but on such a small screen, there won’t be enough of a difference to justify the much bigger file sizes and longer transcoding times. (I don’t own an iPad so I’m basing this opinion on using PCs with much bigger screens.)

    Transcoding software

    I’ve no idea which programs do the best job of transcoding movies for iOS, but there are so few options, it should be a fully automated process. Perhaps readers can recommend something. Otherwise you can always use one of the free video transcoders that handle the whole array of different file formats, codecs, resolutions, frame rates, bit-rates and so on. Examples include Super ©, which is slow and ugly, and Handbrake, which is pretty clunky, as well as more stylish programs such as Xmedia Recode and Media Coder. You may also find Avidemux useful for editing. Try downloading a few programs and see what works for you.

    In defense of Super and Handbrake, I’ve used them for years and somehow got decent results out of them. I couldn’t manage that in my brief trial of Media Coder, though I did get a good conversion in my one go with Xmedia Recode. Also, it may better to use VidCoder rather than Handbrake: it’s easier to use and it uses Handbrake to do the transcoding.

    With audio CDs, you can use Exact Audio Copy and FLAC, the Free Lossless Audio Codec, to make perfect digital copies that you can leave to your grandchildren, who will be able to convert them to whatever format is popular at the time. With DVDs, you don’t get a perfect copy, just a lossy video file, so an ISO is the most future-proof option. However, an MPEG-2 file that matches the original (just in a different wrapper, as it were) is almost as good. If you’re going to transcode MPEG-2 into something more modern, for storing digital movies, then H.264/MPEG-4 AVC is probably the best bet, and the files should be about half the size. Whether they’ll be good enough for the 4K (3840 x 2160 pixel) screens we’ll all be using in a few years is another matter.

    A solution for storing digital movies

    If you’re ripping commercial CDs or Blu-rays, for storing digital movies, you should store the original discs somewhere safe. These discs show that you own the originals and have re-purposed them for convenience, not pirated or downloaded them. Ideally, movie studios would make digital copies available online either free or for a reasonable fee,

    In the US, Walmart and some other stores are offering Disc to Digital upgrades for storing digital movies. You take your DVDs and BDs to the store and pay $2 for a digital copy, which is actually stored by Vudu. You get to keep the DVDs. It’s quicker and a lot more convenient than ripping them yourself, and of course, the quality is excellent. I haven’t seen this promoted in the UK, though FindAnyFilm.com supports UV, and Tesco has offered buyers free digital copies via its Blinkbox service.

    Filmmaker Answers: My digital movies

    As a filmmaker, I have sold DVDs from The Unruly Mystic series at screenings prior to COVID, and continue to find an audience online for them. People think of them as books in a way, to be stored on a shelf. By putting an autograph on the cover reinforces that fact. I don’t think storing digital movies will ever work the same way unless you want to NTF your content.

    “The Unruly Mystic: Saint Hildegard” and “The Unruly Mystic: John Muir” are streaming on various platforms, including Amazon. Recently Amazon Prime stopped doing fulfillment of DVDs for movies as streaming becomes a more viable services for them.

    Author: As principal owner of Michael Conti Productions LLC, Michael M. Conti, expertise and skills makes him the go-to person for producing high-quality videos that leave a lasting impact on audiences, no matter the platform. Produced for digital platforms, point-of-sale systems, cable, and television.
    Deliver both non-monetized and monetized live content to global audiences off-site.

    Notes:

    Some of this content What’s the best format for storing digital movies? originally appeared on guardian.co.uk in 2017.

    Updated: Deleted reference to Ultra Violet as an online resource for storage of studio generated DVD or Bluray content.

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  • Looking for AI Tools for Filmmakers?

    Looking for AI Tools for Filmmakers?

    Harness the Power of AI Tools for Enhanced Creativity and Efficiency

    While ChatGPT is getting a lot of attention and generating a high level of interest, AI has been quietly supporting filmmakers with familiar AI tools for filmmakers like Adobe Creative Cloud Products. These tools, specifically the Essential Tools in Premiere Pro, help with color correction, audio editing, and transcription work. Artificial Intelligence is bringing a revolutionary change to the film industry by introducing advanced technology in various aspects of filmmaking.

    Comprehensive selection of AI tools for Filmmakers

    The primary reason to use this list of AI tools for filmmakers is to provide filmmakers and video content creators with a comprehensive selection of tools that utilize artificial intelligence technology. These tools can enhance various aspects of the filmmaking process, such as video editing, audio post-production, color correction, image enhancement, audience insights, and more. By leveraging AI tools, filmmakers can streamline their workflows, improve the quality of their content, and save time and effort in the production process. Ultimately, the goal is to empower filmmakers with cutting-edge AI technology to unleash their creativity and achieve their artistic vision.

    How did filmmakers get here?

    AI tools for filmmakers
    AI Tools for Filmmakers – What is coming for production?

    ChatGPT, the cutting-edge AI by OpenAI, has attracted significant attention and captivated audiences worldwide. However, it is crucial to acknowledge that AI has quietly been shaping the industry for quite some time. Adobe Creative Cloud Products, which include essential tools in Premiere Pro, have been adopting AI techniques to enhance color grading, audio editing, and transcription tasks. Filmmakers now have access to a wide range of AI-powered functionalities that streamline their workflow and elevate the quality of their productions. The film industry continues to embrace AI innovations and leveraging them to create captivating visual experiences for audiences.

    I have also been using Descript since July 2020 as a tool to write a script, and then listen to how it sounds before committing to an actual voice-over. This form of audio overdubbing has been incredibly helpful for projects where there is a technically training involved and script keeps changing. It was also great for creating machine transcriptions and captions before Adobe Premiere added that same feature.

    What is coming next as AI tools for filmmakers?

    Imagine my happy surprise to see an even greater list being compiled with even more resources. I’m not recommending any of these services by listing them here, just cataloging them as a share from another resource.

    Per The D-Word on YouTube video, I found the following list which is constantly evolving. I highly recommend taking the time to watch this video as it offers valuable insights and a fresh take on the subject.

    Boost Your Creativity and Efficiency with These AI-Powered Solutions

    Here’s the list of AI tools for filmmakers along with their names, URLs, and descriptions:

    1. Recraft
    2. PolyCam
    3. Auphonic
    4. Altered
    5. Eleven Labs
    6. Adobe Premiere
    7. Cascadeur
    8. Morphcast
    9. Timebolt
    10. Neutron
    11. Trint
    12. Kive
    13. BlenderGPT
    14. Blender Chat Companion
    15. Colour Lab
    16. Fylm
    17. Wonder Dynamics
    18. Adobe After Effects
    19. Cinelytic
    20. Runway
    21. Topaz Labs
    22. Luminar
    23. MidJourney
    24. Stable Diffusion
    25. Dall-E
    26. Adobe Firefly
    27. Lexica
    28. Largo
    29. QLOO
    30. Vault AI
    31. Flawless

    Please feel free to leave your valuable recommendations and suggestions in the comments section located right below this text. Your input is highly appreciated and will be taken into consideration. Thank you in advance for your contribution.

  • Extraordinary Cinema Camera EOS C70

    I got a cinema camera! This is the first new camera that I have purchased in almost 10 years. The Canon EOS C70 is the first Cinema EOS camera with a built-in RF-lens mount, which was previously a feature that was only used for the EOS R series of mirrorless cameras.  I learned early on that having the best technology on hand can become an endless and expensive chase. Over years, I have always tried to maximize my ability to use what I have at hand. I shot both of my 2K feature docs with the Canon XF100. Now I am at the point where the leap forward becomes really extraordinary. I am looking forward to shooting my next films with this 4K camera for another decade. This camera is well worth my investment. I have been shooting with Canon cameras for a long time — XF100, EOS 6D.  

    Michael Conti going hand-held with the Andes in the background

    Netflix Approved

    The C70 camera is on Netflix’s official list for approved production cameras which is an extra plus.

    RF 50-mm “Normal Vision”

    I have always appreciated how Canon looks “organic” to me. My clients like the look as well. To me, there is a certain richness and artistic look that comes from these cameras. The biggest payoff with the C70 was the ability to decide what lens I would get. I got the new Canon 50-mm (RF) lens.

    Distinguished by its speed, the RF 50-mm f/1.2L USM from Canon is a desirable normal-length prime due to its versatile focal length and bright f/1.2 maximum aperture. This fast design excels in difficult lighting conditions and also benefits working with shallow depth of field and selective focus techniques.

    The concept of “normal vision,” let alone the 50-mm lens’s ability to reproduce it, is hardly a given. The idea that a 50-mm best approximates human sight has more to do with the early history of lens production than any essential optical correspondence between the lens and the eye.

    “One lens in particular—the 50-mm lens—is often seen as the most objective of objectifs, and it is said to be the lens that best approximates human visual perspective. For example, the precision-lens manufacturer Zeiss states that its Planar 50-mm lens is “equal to the human eye.” Many artists have taken up 50-mm lenses to render ordinary, everyday experience. Yasujirō Ozu, whose films subtly depict the daily life of 1950s and 1960s Japan, used a 50-mm lens almost exclusively. The French humanist photographer Henri Cartier-Bresson also used one. Underlying its popularity is a promise of shared perspective and common understanding.” Source: The Atlantic

    35mm Sensor, 16+ stops of Total Dynamic Range

    The other big setup for me was having access to the 35-mm sensor that gives me 4K resolution among other things.

    Super 35mm
    4K: 26.2 x 13.8 (29.6 mm diagonal)
    UHD: 4K: 24.6 x 13.8 (28.2 mm diagonal)

    The EOS C70 features Canon’s next generation Super 35mm Dual Gain Output (DGO) Sensor. This new sensor is capable of a total dynamic range in excess of 16 stops and includes Canon’s exclusive Dual Pixel CMOS Autofocus technology.

    The DGO Sensor is a newly developed imaging system that generates high dynamic range and maintains low noise levels by reading out each photodiode with two different gains. It combines the two with a saturation prioritizing gain for bright areas, and a lower noise prioritizing gain for darker areas.

    Field Trip

    I recently took the C70 with me on a field trip to Patagonia, Chile in order to test it in the harsh environment there among the glaciers. On the way down to the end of the world, I did a layover in Santiago, Chile where I filmed in an urban setting as well as along the Pacific Coast in Viña del Mar. All of those experiences allowed me to get a good hand feel for the camera, understand the differences in how to adjust for the natural lighting, and play with all the menu options. The big take-away was great appreciation for how good everything looked without having to do any color grade in post production. The lens was amazing in how it used AI to follow focus, specifically a face. More importantly, what the camera saw looked actually like what I saw!

    Here is a short video that I cut together from part of that experience of my daughter and her boyfriend.

    https://vimeo.com/680172387

    With the introduction of the EOS C70 Cinema Camera, Canon is taking aim squarely at filmmakers like me who love the DSLR-style approach to filmmaking, but who are tired of having to compromise essential video-centric features.  Although the test footage was primarily shot outdoors, inside it is amazing with practical lighting. It is going to be my go-to camera for seated interviews.

    The Canon C70 is a serious camera for professionals who want to take their productions to the next level. I am looking forward for having a client who has the assignment to make this camera shine.

    Michael M. Conti at Mirador Serrano Glacier, Patagonia Chile – January 2022