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Miller Film + Video Post Production Servics





Miller Video & Film is proud to offer the Snell & Wilcox Alchemist standards converter which is famous for its fantastic quality. Using its superb and powerful Ph.C. (Phase Correlation) Motion Compensation Technique, we can bring you stunningly sharp and crystal clear video free from the smearing, blurring, and juddering, which is common with most standards converters available. This is the ultimate in standards conversion equipment and Snell & Wilcox Alchemist is the Rolls Royce of standards conversion world-wide. When you want your conversion to look as good as possible, we can deliver a broadcast master quality standards conversion that is fit for network broadcast in the North America, Europe, Asia, and all countries using PAL and NTSC.

Snell & Wilcox Alchemist Ph.C. is the result of years of research and experience in producing the world class standard in standards conversion hardware. The converted images are high quality and will pass quality assurance at any broadcast facility in the world. Even the most complex video material is delivered with clarity that is free from artifacts. Motion artifacts from moving objects, camera pans and zooms, and frame flicker, are virtually eliminated by the Alchemist. Performing SD standards conversion between 60hz (59.94) and 25hz, the resulting output looks great.

This system can also be used to produce great looking down conversions from various HD formats including Sony HDCAM, HDCAM SR, Panasonic D5, DVCproHD, Varicam, and HDV. When shooting in High Definition with NTSC compatible frame rates, remember that a high quality standards conversion process is necessary to produce PAL standard definition formats such as Digital Beta cam (Digibeta), Beta cam SP (Beta SP), DVCAM, Mini DV, and DVDs. And of course, just the reverse is necessary to produce NTSC down conversions from HD frame rates that are PAL compatible. For instance, an HD tape shot at 25 frames would require both down conversion and standards conversion to produce a NTSC standard definition tape at 29.97 frames per second.

The Alchemist uses Motion Compensation, also known as Motion Estimation, which analyzes video and shifts the pixels in each frame (or field) so that they match up perfectly, even excelling in complicated scenes featuring fast moving object in motion, high detailed graphics, and mixed film and video source materials. The Alchemist is even capable of applying Motion Compensation to just the portions of the frame where they are most needed, through a matt system that is built in.

In addition the Alchemist can control aspect ratio conversion which can change anamorphic images to letter box, correct aspect ratio errors in source program material, and simultaneously eliminate lines of noise that sometimes are sometimes seen it the extreme edges of video program. This assures clean and solid video even out to the far edges of the screen, which is important for DVD playback on computer screens that do not overscan their video playback.

The Alchemist also offer the Clean Cuts feature, which uses a scene detection system to keep motion artifacts from crossing frames. This allows for clean edits when working with standards converted tapes in the edit bay. For instance, the editor will not lose a frame or two in an extracted edit because it contains artifacts from a previous shot, as a result in lesser quality standards conversions without Clean Cuts. Clean Cuts is a trademark feature of Snell & Wilcox standards converters with that option.

The Alchemist hardware is an Emmy Award winning proprietary technology enabling standards conversions to look artifact free. Major networks have used the Alchemist to convert the Olympics to both PAL and NTSC feeds to their satellites. The Emmy's have awarded this honor to Snell & Wilcox's Alchemist Ph.C. because this technically superior converter delivers tremendous viewing quality for television in both NTSC and PAL standards. NBC used Snell & Wilcox's Emmy award winning motion compensation equipment since the 2000 Olympic games in Sydney Australia. This is a system that provides superior video quality using both serial digital I/O and analog video

In addition the Alchemist can be used to create DVD's in both PAL and NTSC format. When converting from one standard to the other, our DVD's, are authored using the Alchemist to help create MPEG video in PAL and NTSC formats, which will help assure your DVD looks great in any country, regardless of its broadcast standard.

Be assured that Miller Video & Film will handle all your format conversions from PAL and NTSC using the broadcast industry's best standards conversion equipment, the Alchemist. Ask for it by name.

VIDEO FORMATS BY THE COUNTRY

Video formats from around the world are often incompatible. Video tapes in any format (such as Digital Beta cam, Beta cam (Beta) SP, DVCAM, DVCpro, VHS) will not play on machines used in countries that use an incompatible television standard. For instance, a Digital Beta cam PAL tape will not play in a Digital Beta cam NTSC machine. The machine will simply output noise, if attempted. Here is a list of countries that use each standard. When shipping tapes from one country to another, be sure to check compatibility to avoid disappointment by the recipient. Simply ask us to convert the broadcast standard before shipping, and everybody will be happy. (except the person who has to pay for the conversion.)

There is a vast array of incompatible formats being used worldwide. American broadcasts in NTSC will not play on gear used in Europe for instance. And Japan has its own flavor of NTSC. But using broadcast quality gear made by Snell & Wilcox, Miller Video & Film's standards conversion system can convert most formats to be played in most countries.

What follows is a discussion of international broadcast standards and how standards conversion equipment works.

NTSC - National Television System Committee

The NTSC broadcast standard started in the United States in 1941 as a specific television format. It is used in the US, Canada and Japan, although Japan uses a slight variation of the American and Canadian standard. NTSC frame rate is 29.97 frames per second, although commonly rounded up to 30 for general discussion. Within these 30 frames are 60 fields in an interlaced pattern. Although the resolution of NTSC is lower than that of PAL or SECAM, its frame rate is faster, which reduces the apparent flicker. Cable and satellite systems provide decent color stability, although broadcast through the airwaves can be affected by multi-path distortion when received through an aerial antenna. This resulting error causes phase distortion which can cause the color shifts. Although broadcast engineers sometimes derisively call NTSC "Never The Same Color," the quality of the broadcast can be quite good for standard definition television. It should be noted that the actual technical name for NTSC is NTSC-M, although it is most commonly called simply NTSC.


  • Afghanistan
  • Holland
  • Hong Kong
  • Romania
  • Algeria
  • Iceland
  • Singapore
  • Angola
  • India
  • Somalia
  • Argentina**
  • Indonesia
  • South Africa
  • Australia
  • Ireland
  • S.W.Africa
  • Austria
  • Israel
  • Spain
  • Italy
  • Sri Lanka
  • Jordan
  • Sudan
  • Bangladesh
  • Kenya
  • Belgium
  • Kuwait
  • Sweden
  • Botswana
  • Laos
  • Switzerland
  • Brazil*
  • Liberia
  • Tanzania
  • Brunei
  • Madeire
  • Thailand
  • Cameroon
  • Malaysia
  • Turkey
  • Canary Islands
  • Malta
  • Uganda
  • Cyprus
  • Mozambique
  • United Arab Emirates
  • Denmark
  • Nepal
  • United Kingdom
  • Dubai
  • New Guinea
  • Uruguay**
  • England
  • New Zealand
  • West Germany
  • Ethiopia
  • Nigeria
  • Yugoslavia
  • Faeroe Islands
  • Norway
  • Zambia
  • Finland
  • Oman
  • Zimbabwe
  • Ghana
  • Pakistan
  • Gibralter
  • Paraguay
  • Guinea
  • Portugal

  • Antigua
  • El Salvador
  • Phillipines
  • Bahamas
  • Ecuador
  • Puerto Rico
  • Barbados
  • Guam
  • Saipan
  • Barbuda
  • Guatemala
  • Samoa
  • Belize
  • Haiti
  • South Korea
  • Bermuda
  • Honduras
  • Saint Kitts
  • Bolivia
  • Jamaica
  • Saint Lucia
  • Burma
  • Japan
  • Saint Vincent
  • Cambodia
  • Mexico
  • Surinam
  • Canada
  • Midway Islands
  • Taiwan
  • Cayman Islands
  • Netherland Antilles
  • Tobago
  • Chile
  • Nicaragua
  • Trinidad
  • Colombia
  • North Mariana Island
  • United States
  • Costa Rica
  • Panama
  • Venezuela
  • Cuba
  • Peru
  • Virgin Islands
  • Antigua
  • El Salvador
  • Phillipines
  • Bahamas
  • Ecuador
  • Puerto Rico
  • Barbados
  • Guam
  • Saipan
  • Barbuda
  • Guatemala
  • Samoa
  • Belize
  • Haiti
  • South Korea
  • Bermuda
  • Honduras
  • Saint Kitts
  • Bolivia
  • Jamaica
  • Saint Lucia
  • Burma
  • Japan
  • Saint Vincent
  • Cambodia
  • Mexico
  • Surinam
  • Canada
  • Midway Islands
  • Taiwan
  • Cayman Islands
  • Netherland Antilles
  • Tobago
  • Chile
  • Nicaragua
  • Trinidad
  • Colombia
  • North Mariana Island
  • United States
  • Costa Rica
  • Panama
  • Venezuela
  • Cuba
  • Peru
  • Virgin Islands
Miller Film + Video Post Production Servics



Miller Video & Film has been providing production and post production services to the San Francisco Bay Area production community since 1991. Located in the prestigious San Francisco Presidio , the company's facilities are located within one of the city's largest parks. We are next door to the San Francisco Film center which includes edit facilities, production companies, and the San Francisco Film Society . And just a few blocks away is the new Lucasfilm Digital Arts center . And with all that going on, you might think parking is a problem, but in fact there is a huge parking lot with more than 1000 free parking spaces that are always available. All within 2 miles of the Golden Gate Bridge , Miller Video & Film's facilities are luxurious and comfortable.

Miller Video & Film's facilities include AVID Media Composer Meridien and Final Cut Pro edit bays. Our main edit suite is over 400 square feet and can easily seat 6 or more people very comfortably. Our machine room houses lots of broadcast quality gear including Sony HDCAM , Sony Digital Betacam , Sony Betacam SP , Panasonic DVCproHD, Panasonic DVCpro-50 , Sony HDV, DVD authoring and DVD authoring. . Our edit systems handle standard definition as well as uncompressed High Definition (HDTV) . In addition, high end standards conversion gear can convert from NTSC to PAL and vice versa using Snell & Wilcox with Motion Compensation . (See our Standard Conversions page for more info.)

In addition to our editing and dubbing services, we also provide rentals for Avid Adrenaline & Media Composer Meridien 9000xl , Final Cut Pro systems, as well as studio deck rentals and hard drive systems, such as the Avid MediaDock LVD shuttle tower. Camera packages available including Panasonic HVX-200 with Panasonic P2 recording for Panasonic DVCproHD High Definition.

We also provide media conversion which allows us to convert most formats into internet playable media files such as Quicktime , Windows Media , and Real Player. We also encode for DVD's in both PAL and NTSC and can create interactive DVD menus in both formats.

Miller Video & Film's clients include Lucasfilm, MCI, Autodesk, Pixar, NBC, Harris Digital, Tippet Studio, , The Orphanage, and Dr. John Grey, author of Men are from Mars, Women are from Venus.

Please give us a call to find our what we can do for you.


AVID Media Composer Adrenaline The Media Composer Adrenaline systems feature fully integrated video and audio patchbays, VHS recorder, realtime DVD recorder, mixer, broadcast quality NTSC and PAL monitoring, Dual LCD Displays, professional speakers, workstation desk and a wide range of decks which include Digital Betacam, Beta SP, DVCAM, etc. This system rolls into any edit suite or MCR and in easily interfaced with equipment and machines on-site. Multiple drive configurations, including firewire, SATA Arrays and SCSI LVD Media Docks, available upon request.

AVID Media Composer Meridien The Media Composer Meridien systems feature fully integrated video and audio patchbays, VHS recorder, realtime DVD recorder, Mackie Mixer, Broadcast quality monitoring, Dual LCD Displays, professional speakers, workstation desk and a wide range of decks which include Digital Betacam, Beta SP, DVCAM, etc. This system rolls into any edit suite or MCR and in easily interfaced with equipment and machines on-site. Multiple drive configurations, including SCSCI Fixed drives and SCSI LVD Media Docks, available upon request.

Final Cut Pro 5 HD The Final Cut Pro 5 HD systems feature fully integrated video and audio patchbays, Mackie Mixer, Broadcast quality monitoring, Dual LCD Displays, professional speakers, workstation desk and a wide range of decks which include Digital Betacam, Beta SP, DVCAM, HDCAM, DVCPROHD and HDV. This system rolls into any edit suite or MCR and in easily interfaced with equipment and machines on-site. Multiple drive configurations, including firewire, SATA Arrays and SCSI LVD Media Docks, as well as VHS recorder, realtime DVD recorder, available upon request.

All systems are completely mobile and fully configurable according to needs. Seasoned technicians setup and test systems onsite and are available for tech support throughout the rental period. Whether it's an add-on edit suite in your facility or a edit-on-the-fly setup at a hotel or video shoot, Miller Video & Film is an all in one mobile edit solution. Here is a list of clients who have trusted Miller Video & Film, time and again, to deliver quality equipment and service...


Final Cut Pro on an Apple G5 with 8-drive SATA array is fully capable of realtime capturing and editing HD material. Our editing package includes DVD Studio Pro, Compressor, Soundtrack Pro, and QMaster, which allows you to use other G5s on the network for faster rendering of files.

An Aja Kona LH on an Apple G5 supports 4:2:2 HD input and output as well as realtime down conversion to standard definition. Other features include analog recording and playback of SD and well as HD playback via analog down conversion for suites lacking HD monitoring capabilities. It works in conjunction with our Final Cut Pro systems that include a sata drive array for full recording and playback of HD 8bit or 10bit uncompressed in realtime. This system can be used with our Sony HDCAM, Panasonic AJ-HD1200A or Sony HDV decks. The system is fully mobile and easily integrates into any edit suite or MCR.

The Black Magic DeckLink HD on a Apple G5 supports 4:2:2 HD input and output as well as realtime down conversion to standard definition. It works in conjunction with our fully configured Final Cut Pro 5 systems that include a sata drive array for full recording and playback of HD 8bit or 10bit uncompressed in realtime. This system is fully integrated into our machine room for access to both our Sony HDCAM and our Panasonic HD1200 decks as well as all our other standard definition decks such as Digital Beta, Beta SP, and our standards conversion system.

Sony HDW-F500 HDCAM

Supports 24, 25, 29.97, 30, 50i, 59.94i frame rates at 1920 x 1080 resolution.

Features Down Conversion at PAL or NTSC Frame rates with letterbox, anamorphic or edge cropped formatting via serial digital output. Dolby E 5.1 Compatible.

Panasonic HD1200

Features Up Conversion, Down Conversion and Cross Conversion as well as Multi-format, PAL or NTSC, playback of Mini DV, DVCAM, DVCPRO 25, DVCPRO 50, DVCPRO HD. Capable of up converting standard definition Mini DV, DVCAM, DVCPRO 25, DVCPRO 50 tapes to HD in real time as well as DVCPRO HD down conversion to standard definition. Supports 24, 25 and 30 frame rates at 720p or 1080i. Compatible with varicam cameras for seamless 24p integration with Final Cut Pro HD via Firewire 400.
 













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