Transferring 3D film to video is an exacting process with many factors to consider. Alignment, convergence, color correction, brightness and contrast between the two streams is critical as no two cameras or lenses are are exactly alike, therefore much must be done to even things out. Stereomedia has supervised many transfers of many film formats, (16mm • 35mm and 65mm), to video as well as video-to-film transfers. Costs associated with telecine will depend upon the format, length and corrections as needed. Digital television, and high definition Digital television and high definition standards provide several methods for encoding film material. 50 field/s formats such as 576i50 and 1080i50 can accommodate film content using a 4% speed-up like PAL. 59.94 field/s interlaced formats such as 480i60 and 1080i60 use the same 2:3 pulldown technique as NTSC. In 59.94 frame/s progressive formats such as 480p60 and 720p60, entire frames (rather than fields) are repeated in a 2:3 pattern, accomplishing the frame rate conversion without interlacing and its associated artifacts. Other formats such as 1080p24 can decode film material at its native rate of 24 or 23.976 frame/s. All of these coding methods are in use to some extent. In PAL countries, 25 frame/s formats remain the norm. In NTSC countries, most digital broadcasts of 24 frame/s material, both standard and high definition, continue to use interlaced formats with 2:3 pulldown. Native 24 and 23.976 frame/s formats offer the greatest image quality and coding efficiency, and are widely used in motion picture and high definition video production. However, most consumer video devices do not support these formats. Recently however, several vendors have begun selling LCD televisions in NTSC/ATSC countries that are capable of 120Hz refresh rates and plasma sets capable of 48, 72, or 96Hz refresh.[8] When combined with a 1080p24-capable source (such as most Blu-ray players), some of these sets are able to display film-based content using a pulldown scheme using whole multiples of 24, thereby avoiding the problems associated with 2:3 pulldown or the 4% speed-up used in PAL countries. We can offer your project the following: Highest Quality Machines: DaVinci 2k Color Correction Spirit 2k Ursa Diamond, Ursa Gold ITK Y-front Millennium HD Mastering Formats: HD-Cam SR 4:4:4 and 4:2:2 D5 (10-bit) HD-Cam (8-bit) DVC Pro HD Audio Support: DA88 MO disc Digital Hard Drive Multi-track Mag Optical tracks Any Videotape Format