Genesis - Columbus, Ohio - October 10, 1978

Another Holy Grail pulled from the shelves! And in 1920 × 1080 resolution! Obviously not the whole concert but Includes long clips of songs. Here is complete playlist:

11th Earl of Mar
In the Cage
Burning Rope
Ripples
Deep in the Motherlode
One for the Vine
Squonk
Say It's Alright Joe
The Lady Lies
Cinema Show
Afterglow
Follow You Follow Me
Dance on a Volcano
Drum Duet
Los Endos
I Know What I Like

Time - 55:19

The story of how this film came to be according to a witness. 

Another grail to put on the shelf next to the others. This monumental effort brings you the mirrors tour as never seen before. Based on a tip, I searched, contacted, and met the filmer near my home town in Ohio, at a hotel between our cities of Cleveland and Columbus, to find the largest collection of reels I have ever seen or even heard of for one performance. Pete filmed the show at Ohio State University in St. John Arena, where security was not very strict. About halfway through the show when he was filming behind the stage they threatened to take his reels, but in the end let him keep them and continue. I don't believe these views could be filmed with the heavy security at most venues. But to be safe Pete gave finished reels to his brother in case security tried to confiscate them, and continued to film the rest of the show further away from the front.

He filmed 17 reels of super 8mm film with the rare audio on the reels (only about 5% of super 8mm film sold had audio). The audio quality is nice for 8mm but suffered from inconsistent speed and skips common with 8mm reels, also the bandwidth is similar to AM radio (only about 10kHz). There is another audio source for this date, but the quality is actually worse than the reels and is incomplete. A match is not good if it cannot be heard. So I decided to overlay audio from Chicago three days later (TMAV version) in 2-channel uncompressed PCM 48K format. Coupling this audio with the film gives a real feel of what it was like to see a show in 1978. Of course the two performances are a little different and I did my best to sync the two and the match is very close.

Pete walked around the stage to get front, left side, right side, and (quite interestingly) rear stage views...to see Chester, a monster on the drums! The image held up nicely to these changes in view, with the only major difficulty being the 1978 light show. Sometimes the band was *drenched* in color, followed by a few seconds of dark green, a harsh spotlight, and near darkness with a laser. This causes a problem for the transfer because dark scenes can get too bright while the computer searches for an image, and bright scenes can lose all definition despite turning down the exposure all the way. I accounted for these changes with separate keyframes (settings) as the lighting changed. I also used two separate transfers with different light settings to get the most out of each scene. The results are worth it (to my eyes) as we can see many details in the dark and still not overexpose the brighter moments.

From what I can tell by looking at the filmstock, Pete used fresh Ektachrome 160, which is great for indoors. Unfortunately for most of the vocals, Phil is overexposed by the spotlight, but this is the reality for 8mm. Apparently, Ektachrome reversal doesn't have the best "light latitude"...it can't make out details in a bright light on a dark stage so strong spotlights often show up as pure white, and Ektachrome is generally high contrast and high color saturation. I reduced the exposure as much as possible to see things in spotlights, but cannot go beyond the capability of the film/camera setting.

The film itself was in really nice shape, and we are treated to a 17% (1.55) widescreen. There was some damage to the emulsion, lines and spots here and there, but compared to most 34 year old film, Pete took really great care of it. There were 2 spots where damage affected the film motion, but I tried my best to hide this, shifting the image down as the film shuttered up (for example) or otherwise substituting good frames for bad.
I have transferred and edited well over 100 reels of 8mm, but I typically only see 2-5 reels from a show, where I can examine the frames in great detail. These 17 reels were a major undertaking for me and took months of work. But I am glad I was able to give this important film the effort it deserved, and not just "any old transfer". Sorry, this description got really long...

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