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Film Digitisation

Our tape digitisation capacity includes both standalone and robotic (cart) based ingest – the former for legacy formats (including D3, umatic, DV and HDV) and audio tapes such as DA88 and DAT, and the latter suitable for any digibeta variant (starting from Beta SP through to HDCAM-SR). The use of Sony Flexicarts allows us to digitise on a 24x7 basis at a very cost-effective rate and provides a high level of accuracy and quality.

All ingests are frame accurate, and a monitored by our automation for any issues including video and audio channel conditions (digital formats only). This means should any issues occur during ingest, the orchestration will attempt another ingest, and then flag the tape for intervention should the issues persist. Metadata regarding any channel conditions and drop outs will be stored in our asset management alongside the media, and so can be presented / exported later in the process.


Through our film shared services agreement, Spot and Spin offers unique combinations of highly skilled film operators, an advanced content management system and range of the latest in scanning technology for digitising film to the following formats:

  • SD – Standard Definition – 480i and 576i

  • HD – High Definition 1920 x 1080

  • 2K – DCI 2048 x 1080

  • UHD Ultra High Definition 3,840 x 2,160 and 4K - 4,096 x 2160

  • HDR – High Dynamic Range

Our film Lab is equipped with the following scanning technology:

  • Spirit SDC 2001 HD telecine – (16mm / 35mm)

  • Spirt 2K / 4K – (16mm / 35mm)

  • Black Magic Design (BMD) – Cintel UHD film scanner (16mm / 35mm)

  • Digital Vision Golden Eye 4 scanner (8mm /16mm /35mm /65mm /70mm – as well as a range of other formats including 9.5mm /17.5mm /22mm and 28mm, if required.

  • DFT Scanity – acquisition date TBC

These set of hardware includes the following scanning capability:

  • Nitrate film – advanced deterioration must be established. Nitrate will be scanned on devices with cool LED light source only

  • All Safety bases - including Acetate and Polyester, colour negative, colour positive, B&W negative and Positive. Colour Reversal, CRI (Colour reversal Intermediate), Printing Intermediates; Inter-Positives, Duplicate Negatives. B&W Reversal, Ektachrome and Kodachrome

  • Deteriorating film – upon inspection. Film can be transported on scanners at exceptionally low frame rates.

  • Film Gauges - 8mm/ Super 8 /16mm/ Super16mm /35mm /65mm /70mm – as well as a range of other formats including 9.5mm /17.5mm /22mm and 28mm, if required.

  • Non Standard Frame Line positions – requires reframing by adjustment to region of interest and possibly downstream software.

  • Obsolete Colour Systems – Tinting, Toning, Stenciling, 2 & 3 strip colour film – faded film requiring digital restoration.

  • Scratch and dirt concealment may be treated in a photochemical process, base side polishing, wet gate scanning or digital scratch concealment applications both real-time at the scanner or post applications.

We can deploy both line array and full sensor scanning equipment. Line array scanners such as the Digital Vision will be employed for formats such as VistaVision. A&B rolls are scanned and digitally assembled on a timeline. Intermediate IP’s and prints should be scanned in HDR to maximise range.


All these different types of film can be natively captured to:

  • DPX (both 2K and 4K)

  • DCI – DCP both 2K and 4K

  • DCDM

  • HD file formats

  • All common editorial and mezzanine file formats, ProRes, H.264, QT

As well as transcoded to other formats as required downstream as part of our solution. As with our tape processing – physical scans are also taken of the film cans and stored as part of the process.

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