Production Manager Brian Prosser, calibrates our ingest system prior to a new digitization project
Truly professional videotape digitization starts with a well planned digitization station that is flexible, versatile and uses proper measurement tools to set up, analyze, improve, monitor and digitize video. This is a portion of our main video digitization rack, custom designed to optimize video digitization. For formats that we digitize often or formats that exhibit common problems, the video decks have the tops removed and are mounted on pull-out shelves or rack rails so that we can closely monitor the tape transport during repack and playback to insure there are no problems or issues with tape handling. Easy access to these decks gives us the ability to easily clean video heads and tape paths on a regular basis. Easy access also gives us the ability to make custom adjustments for problem tapes that require special tracking adjustments, tape pack or tape tension adjustments. Multiple models and manufacturers in each videotape format, where possible, insure the best tape playback. Tape A may play back better in deck A. Tape B may play back better in deck B or C. To have a second, third and fourth option, insures best playback quality of the raw signal. We have many different choices of signal processing. Proper Time Base Correction (TBC) and other signal processing capabilities stabilizes the analog visual, can greatly reduce color noise and other analog image issues. Poor and decaying tape signals are often significantly improved. We set levels such as Pedestal (blacks), Luminance (brightness), Chroma (color value), Hue (weighting of color value) back to professional standards. Reducing the color noise and stabilizing the image in the analog portion of the chain is very important. It can be very hard to remove problems that are "baked-in" to the digital version. We have over 10 different TBC's and processors. One or several can be used in the conversion chain. The master QC switcher is the heart of our digitizing station. A feed from every single deck and signal processor in our video digitizing station is fed through master QC, then to a set of oscilloscopes, then to a master reference monitor. This allows us to monitor the raw feed off the video decks, the processed feed through the TBCs and signal processors and digitized output feed to insure quality processing at each stage. Oscilloscopes are the ONLY way to guarantee that video is adjusted and processed properly to professional standards. Making adjustments by eye using only a monitor is akin to playing the blind man's game of "pin the tail on the donkey". Both a waveform monitor and a vectorscope are used. A waveform monitor gives us the ability to see the luminance range of the image and adjust this range with processing amplifiers to insure that the details in the shadows and lighter portions of the image are not lost prior to digitizing. (if the visual information is crushed during the digitization process - there is no way to recover it later). Waveform monitors also allow us to see sync timing issues, which are critical to get the best image stabilization, see closed captioning to insure the lines that hold this information are not deleted during processing, see copy protection, see color burst and how stable the color information is, along with a number of other factors that make up the analog signal. A vectorscope allows us to see the weighted values of the color information. A vectorscope gives one the ability to properly adjust white balance, see if the color value is over/under saturated, adjust for proper flesh tones and more.   For content where camera settings were poorly adjusted in the first place, high-end video processing amplifiers can make the difference between seeing important visual information and missing it. The samples below were taken from ½” EIAJ video with a camera that had auto-iris engaged. The camera iris had stopped way down because of the window in the background. The client required us to make adjustments so that they could see the subject’s face and read their lips as they talked, without any post work required in the digital version. Processing amplifiers enabled us to take the luminance and pedistal levels far beyond the original range so that we could easily see the subject's face and lips as they talked. The relevant information was preserved properly for research. If processing amplifiers were not used to improve the information required, the digital version would have lost the information in the darker areas. At the same time, we can employ real time audio processing. Professional audio leveling gain control processors can bring up low volume level subjects while keeping higher volume level subjects from getting too high. This is especially helpful for group/meeting videos, clinical videos of live videotaped subjects and family video, where subjects of varying audio levels appear in the same video and audio improvement techniques will not be used in post, with the digital file versions. High-end custom built computer ingest stations assure we ingest video without dropped frames, or ingest files with corrupted data. Onboard software monitors the entire ingest process to confirm that all the files we produce are legitimate, whole and in-tact. Our capture workstations are not networked, nor do they have any connection with the internet to insure that no-one outside of our facility has access to our client’s information and that we comply with all HIPPA AND HITECK regulations. Although all these steps are critical for proper video digitization, the human element is the most important key to quality video digitization. The experience required to design, build, properly run and maintain all the equipment in a video digitization chain only comes with time and knowledge. John Schroth, President of MTS has been working with professional analog video gear since the mid 1980's. His passion and love for this format goes into every client project we work on.

We’re serious about digitizing video!

Our focus is to digitize every video project, no-matter the size, at the highest quality possible within a reasonable budget. We use the best legacy playback decks made, rebuilt from the ground up. We use professional electronic signal processing and measurement tools to digitize over 40 different formats and variants of video and insure your videotape is digitized at its best. We're happy to show you our setup and processes, in depth below.
Copyright © 2018 Media Transfer Service, LLC. All rights Reserved
Proud Member Affiliation
Media Transfer Service 317 Main Street Eyer Building - 3rd floor East Rochester, NY 14445 (585) 248-4908 mtsinfo@rochester.rr.com
VIDEO
Copyright © 2018 Media Transfer Service, LLC. All rights Reserved
VIDEO

We’re serious about digitizing video!

Our    focus    is    to    digitize    every    video    project,    no- matter    the    size,    at    the    highest    quality    possible within   a   reasonable   budget.   We   use   the   best   legacy playback   decks   made,   rebuilt   from   the   ground   up. We    use    professional    electronic    signal    processing and   measurement   tools   to   digitize   over   40   different formats    and    variants    of    video    and    insure    your videotape    is    digitized    at    its    best.    We're    happy    to show you our setup and processes, in depth below.
Truly    professional    videotape    digitization    starts with   a   well   planned   digitization   station   that   is flexible,   versatile   and   uses   proper   measurement tools   to   set   up,   analyze,   improve,   monitor   and digitize   video.   This   is   a   portion   of   our   main   video digitization   rack,   custom   designed   to   optimize video digitization. For   formats   that   we   digitize   often   or   formats   that exhibit   common   problems,   the   video   decks   have the   tops   removed   and   are   mounted   on   pull-out shelves   or   rack   rails   so   that   we   can   closely   monitor the   tape   transport   during   repack   and   playback   to insure   there   are   no   problems   or   issues   with   tape handling.   Easy   access   to   these   decks   gives   us   the ability   to   easily   clean   video   heads   and   tape   paths on   a   regular   basis.   Easy   access   also   gives   us   the ability   to   make   custom   adjustments   for   problem tapes    that    require    special    tracking    adjustments, tape pack or tape tension adjustments. Multiple     models     and     manufacturers     in     each videotape   format,   where   possible,   insure   the   best tape   playback.   Tape   A   may   play   back   better   in   deck A.   Tape   B   may   play   back   better   in   deck   B   or   C.   To have    a    second,    third    and    fourth    option,    insures best playback quality of the raw signal. We      have      many      different      choices      of      signal processing.   Proper   Time   Base   Correction   (TBC)   and other   signal   processing   capabilities   stabilizes   the analog   visual,   can   greatly   reduce   color   noise   and other   analog   image   issues.   Poor   and   decaying   tape signals    are    often    significantly    improved.    We    set levels     such     as     Pedestal     (blacks),     Luminance (brightness),   Chroma   (color   value),   Hue   (weighting of    color    value)    back    to    professional    standards. Reducing   the   color   noise   and   stabilizing   the   image in     the     analog     portion     of     the     chain     is     very important.   It   can   be   very   hard   to   remove   problems that   are   "baked-in"   to   the   digital   version.   We   have over    10    different    TBC's    and    processors.    One    or several can be used in the conversion chain. The    master    QC    switcher    is    the    heart    of    our digitizing    station.    A    feed    from    every    single    deck and   signal   processor   in   our   video   digitizing   station is    fed    through    master    QC,    then    to    a    set    of oscilloscopes,   then   to   a   master   reference   monitor. This    allows    us    to    monitor    the    raw    feed    off    the video   decks,   the   processed   feed   through   the   TBCs and   signal   processors   and   digitized   output   feed   to insure       quality       processing       at       each       stage. Oscilloscopes   are   the   ONLY   way   to   guarantee   that video     is     adjusted     and     processed     properly     to professional    standards.    Making    adjustments    by eye    using    only    a    monitor    is    akin    to    playing    the blind   man's   game   of   "pin   the   tail   on   the   donkey". Both   a   waveform   monitor   and   a   vectorscope   are used.   A   waveform   monitor   gives   us   the   ability   to see   the   luminance   range   of   the   image   and   adjust this   range   with   processing   amplifiers   to   insure   that the   details   in   the   shadows   and   lighter   portions   of the   image   are   not   lost   prior   to   digitizing.   (if   the visual      information      is      crushed      during      the digitization   process   -   there   is   no   way   to   recover   it later).    Waveform    monitors    also    allow    us    to    see sync   timing   issues,   which   are   critical   to   get   the   best image   stabilization,   see   closed   captioning   to   insure the   lines   that   hold   this   information   are   not   deleted during   processing,   see   copy   protection,   see   color burst    and    how    stable    the    color    information    is, along   with   a   number   of   other   factors   that   make   up the   analog   signal.   A   vectorscope   allows   you   to   see the    weighted    values    of    the    color    information.    A vectorscope   gives   us   the   ability   to   properly   adjust white   balance,   see   if   the   color   value   is   over/under saturated, adjust for proper flesh tones and more.   For    content    where    camera    settings    were    poorly adjusted     in     the     first     place,     high-end     video processing    amplifiers    can    make    the    difference between   seeing   important   visual   information   and missing   it.   The   samples   below   were   taken   from   ½” EIAJ     video     with     a     camera     that     had     auto-iris engaged.   The   camera   iris   had   stopped   way   down because    of    the    window    in    the    background.    The client    required    us    to    make    adjustments    so    that they   could   see   the   subject’s   face   and   read   their   lips as   they   talked,   without   any   post   work   required   in the   digital   version.   Processing   amplifiers   enabled us   to   take   the   luminance   and   pedistal   levels   far beyond   the   original   range   so   that   we   could   easily see   the   subject's   face   and   lips   as   they   talked.   The relevant   information   was   preserved   properly   for research.   If   processing   amplifiers   were   not   used   to improve     the     information     required,     the     digital version    would    have    lost    the    information    in    the darker areas. At   the   same   time,   we   can   employ   real   time   audio processing.      Professional      audio      leveling      gain control   processors   can   bring   up   low   volume   level subjects     while     keeping     higher     volume     level subjects   from   getting   too   high.   This   is   especially helpful   for   group/meeting   videos,   clinical   videos   of live   videotaped   subjects   and   family   video,   where subjects   of   varying   audio   levels   appear   in   the   same video   and   audio   improvement   techniques   will   not be used in post, with the digital file versions. High-end    custom    built    computer    ingest    stations assure   we   ingest   video   without   dropped   frames,   or ingest   files   with   corrupted   data.   Onboard   software monitors   the   entire   ingest   process   to   confirm   that all   the   files   we   produce   are   legitimate,   whole   and in-tact.      Our      capture      workstations      are      not networked,   nor   do   they   have   any   connection   with the   internet   to   insure   that   no-one   outside   of   our facility   has   access   to   our   client’s   information   and that     we     comply     with     all     HIPPA     AND     HITECK regulations. Although    all    these    steps    are    critical    for    proper video   digitization,   the   human   element   is   the   most important    key    to    quality    video    digitization.    The experience   required   to   design,   build,   properly   run and     maintain     all     the     equipment     in     a     video digitization     chain     only     comes     with     time     and knowledge.    John    Schroth,    President    of    MTS    has been   working   with   professional   analog   video   gear since   the   mid   1980's.   His   passion   and   love   for   this format goes into every client project we work on.
Production Manager Brian Prosser, calibrates our ingest system prior to a new digitization project
Proud Member Affiliation
Media Transfer Service 317 Main Street Eyer Building - 3rd floor East Rochester, NY 14445 (585) 248-4908