FILM COLLECTORS CLUB INTERNATIONAL SHOW AND MEET May 1 & 2,2010 WILDWOOD NJ
The second 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 I’m doing
another. This show is being done for all of us still hanging onto our collection
of films and equipment. It’s 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 don’t plan on being a dealer, load up the trunk with
goodies to swap. The only rule of this show is to have fun! I’ve 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
email@example.com, or call me at
856-468-3269. If I’m not here, leave a message, and I will reply. Again, this
show is for you and strictly a non profit operation. Let’s 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
or phone / fax (716) 731-2389 with you order
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;
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.
It’s a digital age. We download music digitally and watch TV
shows and movies on our iPods. Almost 20 percent of all theaters now feature
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 that’s not expected to change anytime in the foreseeable
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 Digital Dilemma.”
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 research.)
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
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 report’s
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 its accessibility … and that costs money. For instance you have to
copy it to an updated form of media, you have to verify that the copy
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.
That’s 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
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 archiving.
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
“A part of these issues is that we don’t know what the impact of digital
will be,” Shefter told TheWrap. “Years ago, we didn’t know about ringtones
or iPods,” Shefter said. “We don’t know what opportunities the future will
bring. But if you have the content, you will be the driver’s seat.”
“You are on this treadmill that you can never get off,” Maltz said.
Another issue is image resolution.
Today’s 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
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
“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 &
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 screening room.
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.
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
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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 more.............Ex shape......$10.00
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