COLLECTORS CLUB INTERNATIONAL SHOW AND MEET May 1 & 2,2010 WILDWOOD NJ
film show and meet is coming up. This is, as far as I know, the only show that is nothing
but film and equipment. At the first show, even with terrible weather, we had a blast for
2 solid days. A lot of you said that you wanted to see if the show would work before
coming. Well, it did and Im doing another. This show is being done for all of us
still hanging onto our collection of films and equipment. Its a great way to get to
know each other and pick up some bargains. No bidding up, no last minute sniping, see the
film before you buy it! We will be screening film all night long! This is a very non
formal show, so if you want to run one of your films, go ahead! Show hours are;
Saturday, 10-who knows? Sunday, 10-4. If you feel the need to escape for a few
hours, Atlantic City is 30 minutes away. We will be oceanfront this time, so enjoy the
ocean right out the door. If there is enough demand, we will have an auction Sunday. If
you dont plan on being a dealer, load up the trunk with goodies to swap. The only
rule of this show is to have fun! Ive have worked hard to make this show affordable
to everyone. Dealer tables are only $25 for one and $20 each for more than one. Admission
is $5 a day. Room rates are only $75 per night when mentioning the Film Show. It will be
held at the Ocean Holiday Resort, Ocean Avenue, Wildwood Crest. Call 609-729-2900 for
reservations. Any questions or dealer table requests, email me at firstname.lastname@example.org, or call me at
856-468-3269. If Im not here, leave a message, and I will reply. Again, this
show is for you and strictly a non profit operation. Lets make it a good one and we
will do it again in the fall. Many thanks to Shorty and Doug Meltzer for all of
their help at the first one. So, hope to see you!
A-1 Video has been forced to sever our affiliation with
Merchants services and the Visa, Mastercard and Discover Cards due to an outrageous
increase in fees. The banks are taking up to 30% of your money from our account when you
pay and obviously we cannot absorb that kind of bank-gouging, nor can we pass that along
to our customers.
So, we have aligned with PayPal which has an affordable fee at present. If you have
a PayPal account then orders can still be paid to A-1 video under the email account KCandBob@roadrunner.net.
Attn; Karen Casey
If you do not have PayPal account, then a money order that draws on any U.S. bank can be
used. Citizens in the U.S. can, of course, mail a personal check.
or phone / fax (716) 731-2389 with
sof ; sound on film sil; silent double sprocket or dead
track 1-r; one reel
(approximately 400 feet in 16mm or 200 feet in 8mm;
average runningtime 10 minutes) 2-r;
two reels (approximately 700-800 feet in 16mm or 350-400 feet in 8mm or 17-20 minutes) 3-r; three reels (approximately 900-1,000
feet in 16mm or 600 feet in 8mm or 25-30 minutes)
Sp order; special order from lab negative,
prints not on hand for immediate shipment.
Its a digital
age. We download music digitally and watch TV shows and movies on our iPods. Almost 20
percent of all theaters now feature digital projection.
So when it comes to saving a movie like Benjamin Button or Up for
the future, it only makes sense that the cheapest, safest and most space-efficient method
of storage would be digital as well.
Surprisingly, entertainment technology industry leaders agree that film remains the only
format on which one can guarantee safe long-term archive and access to motion-picture
materials. In fact, film remains the standard in archiving -- and thats not expected
to change anytime in the foreseeable future.
Not even for films projected digitally in theaters -- these are actually converted from
digital to film for old-fashioned storage. In a dark room in a cold temperature in secure
spots scattered around the country.
The major studios currently store all movies on film. While they may store some ancillary
material like on-set interviews and outtakes digitally, they have come to the conclusion
that digital storage is not only less safe but, incredibly, far more expensive.
It has, though, been a learning process of trial and error. We have already lost a
great amount of digital material, said Milt Shefter, who led the Science and
Technology Council of AMPAS influential 2007 report on archiving issues. The
This lost digital material, Shefter told TheWrap, include a range of supplemental
material. (Shefter would not name any titles or parts of titles that had developed
problems, claiming the academy had to sign nondisclosure agreements in doing its
And there have been some close calls that nearly resulted in the loss of complete
Hollywood features, AMPAS SciTech Council director Andy Maltz. Ultimately the
data was recovered, but it was a real scramble to make that happen. (NASA wasn't
so lucky with the original moon-landing tapes; see TheWrap's story.)
It was losses like these that led to AMPAS Digital Dilemma investigation
The changes have tended to arise piecemeal and so rapidly that the industry has not
had a chance to step back and consider long-term implications, the report read.
Even some of the artists who have been the most evangelical about the new world of
digital motion picture sometimes seem not to have thoroughly explored the question of what
happens to a digital production once it leaves the theaters and begins its life as a
long-term studio asset.
The report warned that the industry was in danger of making decisions that produce
financial and cultural consequences.
The studios paid attention. The majors all have agreed with the reports conclusion,
and their titles ARE archived on film -- though it is not always as clear with independent
films. In those cases, decisions are made by the individual content owners.
So why not digital?
Cost is one huge issue. With film, you process it once, and you put it in a cold
room, Maltz said. With digital, you have to copy it periodically to maintain
and that costs money. For instance you have to copy it to an
updated form of media, you have to verify that the copy happened correctly.
Experts in the field recommend migrating digital motion picture elements every three to
five years to a new version or format.
As a result, long-term storage for digital is a staggering 11 times higher than film,
according to SciTech Council findings. Its report found the annual cost of preserving film
archival master material is $1,059 per title, while the annual cost of preserving a 4K
digital master is $12,514.
Thats not including start-up costs. Studios generally save one film version of a
theatrical feature, and the up-front process (including digital mastering and film out)
can cost several hundred thousand dollars -- a level where many independent
filmmakers could not think about, Shefter told TheWrap.
And while, the new technologies might seem safer, the opposite is true. Consumer hard
drives and discs have not proven infallible -- and the same goes for storage discs used
For one thing, bits actually have been found missing from digital files. Plus, because of
the constantly changing technology, some films have been stored in formats whose players
have worn out or been damaged and are no longer available. (Imagine having stored your
only copy of Citizen Kane in Betamax.)
A part of these issues is that we dont know what the impact of digital will
be, Shefter told TheWrap. Years ago, we didnt know about ringtones or
iPods, Shefter said. We dont know what opportunities the future will
bring. But if you have the content, you will be the drivers seat.
You are on this treadmill that you can never get off, Maltz said.
Another issue is image resolution.
Todays digital masters are often made at a resolution that likely will end up far
lower than where digital cinema projection is heading. These digital masters will
fall short of future display mediums, said Mike Inchalik, COO of Lowry Digital, a
Burbank-based business under the Reliance umbrella that specializes in film restoration
Theaters are mostly projecting at what is called 2K digital, and masters similarly are
typically done in 2K resolution. But several projectors now are being developed in 4K,
which means four times as many pixels in the image.
Studios could save at 4K, preparing for the future. But it costs more, so they have to
weight it: Do we need the extra; we already have a high resolution, and the difference
will be barely noticeable to the human eye.
Warner Bros., actually, is already a step ahead in storing higher resolution. Preparing
for the future, it archived the Judy Garland version of A Star Is Born in 6K,
as well as storing a film master.
In the two years since the Digital Dilemma report was released, initiatives
have started -- both in and outside Hollywood -- to address this far-reaching issue that
extends to filmed history such as that which is found in the National Archives.
AMPAS is funding research on archiving in the digital age, as well as studying related
topics including metadata and file formats. The major studios also are exploring the
challenges. And the SciTech Council is working on a follow-up study, focused on
independent films, as well as public archives.
The good news is people took the call to action seriously, AMPAS Maltz
said. But we have not seen any fundamental breakthroughs yet.
ATTENTION 8mm & 16mm Collectors!
Here's the reference guide
and historical book you've always wanted!
|| FROM THE PUBLISHER
Do you remember the first movie you ever owned? It was probably a
product of Castle Films. Before home video, Castle Films made every living room a
For four decades the 16mm and 8mm film products of Castle Films were sold in
every department store and hobby shop. Castle had big-screen movies for everybody:
comedies with Abbott & Costello, The Marx Brothers, and W. C. Fields...monster movies
with Frankenstein, Dracula, and the Wolfman...cartoons with Woody Woodpecker, Chilly
Willy, and Mighty Mouse...westerns with Clint Eastwood, John Wayne, and James
Stewart...travelogues of the world's picturesque places...newsreels of major headline
stories...musicals with top singers and bandleaders.
Collectors have always wanted a reference book detailing the total output of
Castle Films. Here it is. Castle Films: A Hobbyist's Guide is a complete filmography of
every title printed between 1937 and 1977. For handy reference, there are separate indexes
by title, subject, and serial number, a listing of Castle's color film releases, and a
special section "decoding" Castle's various pseudonym titles and disclosing the
"true identities" of many films. Castle Films: A Hobbyist's Guide is a
fascinating, nostalgic look at one of the pioneers of home entertainment.
Collectors have always wanted a reference book detailing the complete 40-year
filmography of Castle Films. This is it.
TO PURCHASE, go to BarnesandNoble.com then type "Castle Flms" in the search and
you will get all the information you need to purchase this great book! A-1video.com highly
recommends this to all film buffs and home movie collectors!
8mm & Super 8mm
CASTLE FILMS CATALOG 1972
of home movies featuring cartoons, comedies, sports, musical , newsreels and much
8mm & 16mm
CASTLE FILMS CATALOG 1970;
of home movies featuring cartoons, comedies, sports, musical , newsreels and much
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