Our offices are in beautiful Tupelo, Mississippi, birthplace of Elvis Presley, and we currently serve clients in the United States, Canada, Japan, the UK, New Zealand, and Australia. Our street address is 1744 Gliff Gookin Blvd, Tupelo, MS 38801.

We are generally available to answer your questions by phone, messenger, or e-mail from 9AM to 5PM Central Time, Monday through Friday, although there may be exceptions. Messages are forwarded to our cell phones, so if you don't reach us right away, leave a message and someone will get right back with you.

It's very straightforward. You just box up you old home movies, photos, and whatever else you want us to restore, and send them to our offices in Tupelo. We will do the work and then ship everything back to you in its original condition, along with your new digital copies.

Definitely contact us about it. We do lots of unusual or highly specialized projects for our clients. These days, most of our work is custom anyway, so the odds are pretty good that we can do it.

The only work we might outsource is the wetgate scanning of 16mm or 35mm film prints. We have film lab partners that we work with on a regular basis for that sort of thing. In addition to being more cost-effective from a business standpoint, there are carcinogenic effects associated with certain chemicals in wetgate scanning that we prefer not to deal with. Everything else, including non-wetgate scanning of 8mm and 16mm film, is done in-house. 

Not unless you are either the copyright owner or a licensed distributor, or the movie in question has fallen into in the public domain. You can find a list of public domain movies here.

We store every mezzanine file in 1080p 10-bit ProRes 4:2:2, which means we can engineer your deliverable to your exact specifications quickly and with no quality loss. We can send it to you by any method you prefer, e.g., download, flash drive, hard drive, DVD, etc. Some methods may involve additional cost.

Everything is negotiable, but generally we only distribute 1080p versions to streaming services and broadcasters. When we sell to individuals, we distribute the 480p standard definition version. The reason is pretty straightforward: being in the public domain means that anyone can redistribute these films on whatever terms they want. Without the benefit of copyright protection for our work, the only mechanism available to us to monetize our work is to restrict the highest quality versions to monetized platforms where we can control access and prevent competitors from downloading our work (or at least make it difficult). If you think you have a use case that fits within this model, we'll be glad to talk to you about it.

It's just an industry term for the master copy of a source.