DIY Preservation

Good

WHAT:

A preservation master from the original negative; a sub-master for making prints, prints or copies for screening, on film, video, or digital.

WHERE:

Multiple secure locations that are cool and dry with minimum fluctuation in temperature and humidity; ideally, 50°F at 45% humidity.

Better

WHAT:

A preservation master from the original negative; a sub-master for making prints, prints or copies for screening, on film, video, or digital plus a high-quality conservation print to be shown only under archival conditions.

WHERE:

A secure, temperature and humidity-controlled storage facility between 35°F and 45°F at 45% humidity.

Best

WHAT:

A preservation master from the original negative; a sub-master for making prints, prints or copies for screening, on film, video, or digital plus a high-quality conservation print to be shown only under archival conditions. Additional materials of value such as outtakes and notes on production and post-production should also be kept.

WHERE:

A film archive or library, with clearly stated terms and responsibilities on matters such as access.

Note: Recommended maximum storage temperature depends on relative humidity. For current recommendations on temperature and humidity consult the Image Permanence Institute website. 

Good

WHAT:

Have multiple copies of files that are uncompressed, unencrypted and in a non-proprietary format.

WHERE:

On multiple and diverse formats kept in multiple secure, fireproof locations, which might include hard drives, servers, data tape, DVDs, and the cloud.

WHEN:

Migrate to most current digital format every five years.

Better

WHAT:

Multiple copies of files, 4K frame file as minimum resolution, plus metadata for production process and lab work.

WHERE:

On multiple and diverse formats such as hard drives, servers, data tape, DVDs, and the cloud, kept in storage facilities (such as Iron Mountain), as well as other secure, fireproof locations.

WHEN:

Migrate to most current digital format every three years.

Best

WHAT:

Have multiple copies of files that are uncompressed, unencrypted and in a non-proprietary format, plus master materials transferred to acetate film stock.

WHERE:

On multiple and diverse formats including hard drives, servers, data tape, DVDs, and the cloud, kept in multiple locations. Also in a film archive or library, with responsibility for migration clearly stated (whether archive or depositor).

WHEN:

Migrate to most current digital format annually.

Good

WHAT:

A videotape master on the highest possible quality format plus a digitized version on a current format.

WHERE:

In multiple secure locations which are cool and dry with minimal fluctuation in temperature and humidity; away from other electromagnetic media or equipment.

WHEN:

Migrate your digital copy to the most current format every five years.

Better

WHAT:

A videotape master plus multiple digital copies, ideally including a 4K encoded digital file master.

WHERE:

In multiple secure locations including a storage facility (such as Iron Mountain) where items are kept cool and dry with zero fluctuation in temperature and humidity; away from other electromagnetic media or equipment.

WHEN:

Migrate your digital copy to the most current format every three years.

Best

WHAT:

A videotape master plus multiple digital copies, ideally including a 4K encoded digital file master, plus a copy of the finished work transferred to acetate film stock.

WHERE:

In a film archive or library, with clearly stated conditions, terms, and responsibilities.

52°F max. at 50% max. RH
63°F max. at 30% max. RH
73°F max. at 20% max. RH

Note: Recommended maximum storage temperature depends on relative humidity

WHEN:

Migrate your digital copy to the most current format annually.

Quick tips

Differentiate between your preservation master(s) and access copies

  • Your preservation master will be your primary source for preservation in the future. Make sure it is handled as infrequently as possible, preferably only for migration or making additional master copies.
  • Be sure your preservation masters are handled only by technicians with archival experience
  • Access copies are more easily replaceable and can be used for ongoing exhibition and distribution.

Not-so-good places to store your movies

  • Having your film on‐line (YouTube, etc.) is only a form of exhibition, NOT preservation.
  • Film laboratories should not be considered a viable option for long‐term storage of master materials; they generally do not maintain archival storage facilities and are not responsible for your materials unless you have a deal in place with the lab.

 

 

STORE YOUR MOVIES IN THE BEST POSSIBLE CONDITIONS

Store multiple copies of your work in geographically separate locations to protect against fire, natural disasters or mishandling.

Do not store your film, videotape, or digital files in less than ideal locations such as:

  • the trunk of your car
  • cellars that could flood
  • attics and garages that can get very hot
  • any area where there are radical shifts in temperature and humidity

The general archival storage standard for safety film and video at the Library of Congress Packard Campus for Audio Visual Conservation is 55°F with 35% relative humidity. Films in all formats are stored horizontally in cans wound on plastic cores. Video tapes, both open reel and cassette-based formats, are stored vertically. Ideal conditions for storing DVDs is between 40°F and 54°F at a maximum relative humidity of 50%.