 Okay, tell us what you're working on. Uh, well, I am trying to ensure that the film transfer machine that I have, that's called the Telesinny, is actually working. I had problems with the sound head, and so I'm now trying to just ensure that everything is working okay. Where'd you find this film? Uh, this was actually a gift from another guy who collects films. His name is Bill Gerhardt, and he does this website called Connellrad. And Bill found multiple copies of this film, and I transfer films for him whenever he gets them on eBay, so he gave me this film. You said this is a new machine? This is, I mean, I bought it new. It's like going on three years old. Yeah, most of the equipment I have is stuff that I got used from somewhere, like eBay, or I bought it from somebody, or it was in a thrift store somewhere. I mean, the vast majority of the films I have, it's the same thing. I just find them, because what happens is schools and labs are getting rid of all this material, and I kind of bring it in. But this was new, because this is a nice piece of equipment, and I needed to digitize a bunch of materials for a project. It was 10,000 TV commercials for a client, and I needed something that was pretty rock solid, and this is very quiet, and it's very delicate on film, and so that's why I wanted this. 10,000? Yeah. Yeah, it was a big deal. What is this machine in front of you called? This is a film inspector, and this is what libraries and archives would use to inspect films, either that were going out to people that were checking out the films, or when they got them back in, then they would inspect them to make sure there wasn't any damage, and they could fix splices and things. So we use this to clean films, and we use this to inspect films, and then when I do shows, I put shows together on big reels like this, so I don't have to keep changing reels. To do what I do, I have to use sometimes really new technologies, and then have to interface them with very old technologies. And then there's this kind of gray area in between where I found it's very efficient for me to get the highest quality image by using computers that are pretty old, but like five years old or older, which is cheaper, and actually very efficient at what they do. So not only do I have to know a lot about audio visual equipment, but I also have to know something about computers. There are many more farm facilities that can be adapted. So this machine will capture each frame individually? Well, yeah, kind of. I mean, with video you're not working with frames, you're working with fields. So it's capturing 29.97 frames, or like 60 fields a second. And film is traditionally 24, so you have what's called a pull-down, where it's copying a frame every third frame. It's copying one frame to kind of compensate for all that. So these other machines that I have, they actually do one frame equals one frame of video. And ultimately, that's what we're going to do at some point of time. I afraid this machine to do HD, and it's going to be a single frame. How long do these frame-by-frame machines take per frame? How quickly do they work? Well, it depends on the resolution. So for example, there's one machine over there which runs about 8 frames a second. These newer machines actually run pretty close to real-time, like 18 frames a second. But when I get a higher-resolution camera, a higher-definition camera, it's going to go slower because you have to compensate. I'm going to get a 2K camera for a 16mm telecenter, so I can do these really high-quality scans for a 16mm film, but it runs like 6 frames a second. It's kind of a trade-off there.