The two driving forces behind the Digitizer:



Best technology ensures every detail
It is our duty in respect of the film writers to strive to re-establish the original emotional atmosphere and aesthetics from the analogue film. This is why the best no-nonsense technology has been applied realizing the ambitious Vintage Cloud Film Digitizer. All the way from the unique transportation principle, over the highly adjustable burst LED-light source that captures every detail of the film meticulously to the extreme-dynamic, high-definition lens and camera gear creating a true digital clone of the film.

Best operator experience is crucial to the result
Attributing to the high digitizing quality out of the scanner, is the fact that the operators also can monitor every second of the scanning process with sound and picture simultaneously. They immerse themselves into the movie in true real time. A scene can be recaptured immediately if it is required and everything is live and what-you-see-is-what-you-get. This is so rewarding – as you do not have to wait for exporting or rendering before you know you have done a great job of transforming the fragile analogue media to a robust digital file ready for further enhancement.

The 4 big and the 20 other advantages:


  • The Vintage Cloud Steenbeck Digitizer is the only system capable of digitizing separate image and audio at the same time up to 4K resolution and up to 60 fps.

  • The Digitizer is 3-5 times less costly per digitized hour than other high-end systems while delivering unprecedented image quality and superior operator satisfaction.

  • The Digitizer is highly tolerant of damaged perforations, fragile splices, warped, brittle and shrunken films. Broken perforations are handled with our “zero-perf.” construction allowing for missing perforations up to 30 frames.

  • The system boasts a tactile, no nonsense interface giving you quick and intuitive access to various adjustment interfaces and operators can be up and running with confidence after just a few hours training.

Film Formats:
16mm, Super16mm and/or 35mm w. 4 perf., 3 perf. and 2 perf. pull down in real time
Digitization Speeds:
Minimum 60 FPS at 2K and 30 FPS at 4K
Shrunken and Damaged Film:
Rounded gate capstans to handle shrunken film up to 2,5%, warped films with damaged/missing perforations up to 30 in a row with scanning uninterrupted
Sensor:
High Resolution CMOS Sensor 4K-UHC
Camera:
Global shutter camera to avoid all artefacts known from rolling shutters such as slanted lines instead of straight lines and spinning objects are not clearly defined
Camera adjustments:
Camera adjustable gain, gamma and black levels for individual color channels can be controlled via digitizer monitor interface for extreme faded film correction
Dynamic Range Camera (HDR):
Must be able to handle wide dynamic range with 11 stops or more

Light Source:
High intensity short-burst diffuse LED source for direct, full frame grab. No rotating multisided glass prisms systems in light flow to secure maximum picture quality and avoid optical artefacts
Light Source Grading Options:
Adjustable (0-100%) W-R-G-B in each color channel
Monitor:
Built-in 4K monitor in digitizer for WYSIWYG viewing (What-You-See-Is-What-You-Get)
Technical Video Scopes built-in:
Built-in R-G-B Parade, Color Vector Scope, Video Waveform, Audiometer
Focus:
Easy focus adjustment with on-screen peaking aid
Digital Zoom:
High quality digital zooming and positioning
Masking:
Adjustable pillar and letter box masking
Audio Digitization:
Simultaneous with image and embedded in SDI video stream and recording in following formats: SEPMAG, SEPOPT, COMOPT, COMMAG with 4-plate system. Biphase out, TTL levels for external sound equipment synchronization

Audio Output:
Headphone, internal and external speakers for audio monitoring
Outputs:
Uncompressed HD, ProRes 4:2:2, DNxHD directly to high speed SSD media and DPX (w. external grab unit). Realtime SDI uncompressed output in full scanning resolution and frame rate
Film Transportation Principle:
Steenbeck’s proven and super-sensitive transportation principle applied and improved for maximum protection of the fragile and decayed analog film media
Standing:
Free standing, no cooling required. No external computer requirements
Film Repair:
Repairing splices without removing film from scanner and ability to continue scanning from break point

Please download our PDF
including all specifications.

Rent, lease or buy:


With Vintage Cloud you can get started digitizing your archives in a matter of weeks. You do not need to start investing in a complete machine setup. You can rent or lease a solution and pay as your digitizing projects output contents and you generate payment flows.
Speed and efficiency are key to Vintage Cloud, keeping costs per digitized hour film low. After training, you are able to digitize and restore more than one full film per day. All machines for rent are fully up to date and you will receive full support during the rental period making sure you always work at full capacity. If you want to purchase a machine after renting it for a period, you will get most of the rent deducted in the purchase price.

Please see the rent and lease rates in the overview.

Support and training:


Our support is only one call away and our technicians are ready to jump on a plane if matters can’t be handled remotely. Our machines and interfaces are designed with the operator and ease-of-use in mind. Before you start, you will receive a 3-days introduction course at one of our training facilities. After machine installation at your facilities, you will have a full week of training with your own materials. During this training, you build your staff ’s confidence in operating the machines at full speed. We always carry machines on stock so we can from signing of a contract have you digitizing at full speed in a matter of 6-7 weeks.