THIS IS HOW THE NFL SCANS ALL OF ITS OLD FILM:
The Instagram account, @mrcelluloid, is run by independent filmmaker Alex Grant who brings fans behind the scenes as he manages NFL’s massive film vault. There is a staggering amount of film in there: over 100 million feet — it would take 13 years to watch it all.
Using “state-of-the-art” scanners, Grant digitizes 8mm, 16mm, and 35mm film. “Methods of transferring film have varied over time, with older machines using a same similar principle of taking individual photos of every single frame,” he writes in one post.
Grant, who scans about 50,000 feet of film per day, says the vast majority of the NFL Films archives is on 16mm, but there’s plenty of 35mm, too. 8mm is relatively rare. The earliest films are from the 1920s and film was still being used as late as 2014.
“To keep up with the volume of film, we have four machines running almost all day,” says Grant, while adding each scanner costs $300,000. “It has a big camera lens inside, which takes a high-quality photo of every single frame. It even has a built-in fan to blow off any excess dirt/dust.”
I grew up in South Jersey, about 20 minutes from the NFL Film’s office in Mt. Laurel, and once interviewed the legendary Steve Sabol for Videomaker magazine, so I’m thrilled that the league is digitizing its archives. But how much will be available for public viewership? To watch old NFL Films product is to watch a worldview and a respect for its core audience that no longer exists among its management, and hasn’t for a decade:
In the 1960s, American culture was fracturing along a fault line, with the common man on one side and scorn against his mores and values on the other. The league’s commissioner at the time, Pete Rozelle, chose to take the side of ordinary Americans in the raging culture war, because they were his natural audience. The league sent star players to visit troops in Vietnam and issued rules requiring players to stand upright during the playing of the National Anthem.
In 1967, the NFL produced a film that combined sideline and game footage titled, “They Call It Pro Football.” The film was unapologetically hokey. It was crew cuts and high tops and lots of chain smoking into sideline telephones. With a non-rock, non-folk, non-“what’s happening now” soundtrack, heavy on trumpets and kettle drums. John Facenda, who would come to be called “The Voice of God” for his work with NFL Films, provided the vaulting narration. The production began with the words, “It starts with a whistle and ends with a gun.” There was nothing Radical Chic about it.
The NFL surpassed baseball as America’s pastime with careful branding that conformed to the tastes and sensibilities of middle-class Americans – Nixon’s silent majority. A half century later, Roger Goodell would kill the goose that laid the golden egg.
In August 2016, America was experiencing a polarizing presidential election. San Francisco 49ers quarterback Colin Kaepernick sat during the playing of the national anthem, to protest injustice. It was a politically divisive act directed at fans who regard the national anthem as something sacred. The league did not lift a finger to stop him.
Most employers don’t let their workers make controversial political statements to their customers. It is why you do not know your UPS driver’s views on the expansion of NATO. The Constitution does not prohibit private businesses from regulating speech during work.
A savvier commissioner would have reminded Kaepernick that he is being paid millions to wear the logo of the NFL, and the league does not permit players to use its brand to flaunt their personal politics. Instead, Roger Goodell permitted the pregame ceremonies to become the focus of intense political scrutiny, as the media lined up to catalog whether players stood, sat or knelt during the national anthem.
As Iowahawk famously tweeted back then:
