Talk:Film preservation

Nitrocellulose emulsions

how would you prepared nitrolcellulose water stabl emulsions — Preceding unsigned comment added by 195.219.183.6 (talk) 19:32, 27 October 2004 (UTC)

Nitrocellulose is only unstable in water IF in a deteriorating state. Emulsions for modern filmstocks would work perfectly well with just about any base. — Preceding unsigned comment added by 65.31.46.67 (talk) 06:11, 27 February 2005 (UTC)

Digital vs. Analog

The article states that a digital copy is equal to an analog original with our current progressing technology. Can someone find a source that verifies this?

Daemon 02:21, 28 December 2006 (UTC)

I think that is what the "Digital Nitrate" project would like to see, a digital format that holds all the richness of a film image as recorded on the old slow siver rich emuslions that were used in the days of Nitrate film - see Digital_Nitrate_Prize - in other words not yet. cmacd 13:32, 28 December 2006 (UTC)

What I can state here is the fact that modern film stocks bring resolution, better: resolving power, of up to 700 line pairs per millimeter in black and white, up to 400 in colour, which is more the double of what the best lenses might yield. The new picture generation is no more introducing any grain. The only important point to be carefully observed is the contact between the to-be-saved material and the raw stock. Then, the image is transferred as a whole, photographic-full-surface. Since there is already thin-base film available, a 1000-foot thin-film duplicate will have the size of some 400 to 500 foot of traditional stock. This is the future. 80.219.135.92 19:07, 3 March 2007 (UTC)

• Motion picture film scanners can now scan film at 4k Display resolution, 4k is above the Display resolution of 35mm film. Some units can now even scan at 6k and 8k if needed (like for Vista Vision - 8 pref). Telecine Guy 05:28, 21 June 2007 (UTC)

List of restored films

Its silly to list restored films. Every film with a restored scene in the director's cut has been "restored". It would be easier to list ones not restored. --Richard Arthur Norton (1958- ) (talk) 23:45, 9 May 2008 (UTC)

Film Decay

Can anyone point ot a source for the following, found under the section "Film Decay"?

Cellulose acetate film, which was the initial replacement for nitrate, has been found to suffer from vinegar syndrome. Indeed the preservation of color films has now been found to involve a compromise, because low temperatures, which inhibit color fading, actually increase the effects of vinegar syndrome, while higher (normal room) temperatures cause color fading. —Preceding unsigned comment added by 12.186.80.1 (talk) 19:00, 21 April 2009 (UTC)

Film Archivist here. First I've heard of it; I came in here just to see if there was a source for it. All our films are stored at low temp/low stable humidity. If we had the money, our tests show that it would be better to freeze films specifically to arrest VS — Preceding unsigned comment added by 203.7.140.3 (talk) 23:13, 28 June 2011 (UTC)

Conservation-restoration category

Of course this is related to conservation-restoration. It is an act of preservation. How could one possible argue with this?--RichardMcCoy (talk) 17:55, 18 March 2012 (UTC)

Bringing up to standards

I think some copy editing is in order on this piece to bring the style and grammar up to Wikipedia standards. It's a bit choppy and informal, and there are a few typos. — Preceding unsigned comment added by 67.184.217.241 (talk) 01:53, 16 January 2013 (UTC)

Moving Image Collections (MIC)

I'm omitting this section in its entirety for no publications/websites exist at the moment, and is is written much like an advertisement.

Moving Image Collections (MIC) /ˈmaɪk/, is a preservation, access, and education initiative co-sponsored by the Association of Moving Image Archivists (AMIA) and the Library of Congress (U.S.). MIC provides a union catalog, archive directory, and informational resources on archival moving images, their preservation, and the images themselves to diverse constituencies, including archivists, researchers, educators, and the general public on their website.

MIC's Union Catalog and Archive Directory not only help people locate films and collections, they enable collaborative preservation decision-making and management on an international scale. Detailed Archive Directory descriptions allow archivists to evaluate archival activities in similar repositories, identify organizations with common missions to sponsor research and education portals, and offer training and development in areas of mutual interest. The Directory also enables the Library of Congress and AMIA to identify community needs, potential collaborations, and emerging trends, in order to focus community training and support.

MIC seeks to raise awareness about preservation issues and risks to our film, television and video heritage by enlightening readers as to the care of home collections, the role of archives, and the preservation process. MIC's expert contributors have created and gathered hundreds of informational resources to illuminate these issues and fulfill the daily informational requirements of working archivists.

MIC's mission is to immerse moving images into the education mainstream, recognizing that what society uses, it values, and what it values, it preserves. Originally designed to address the crisis in film preservation, MIC demonstrates that recommendations rooted in the practical requirements of preserving analog artifacts can evolve into a visionary R&D platform which serves a clientele beyond archivists and explores the leading edge of non-textual indexing, digital rights management, and educational use, all the while continuing to meet the daily needs of archivists by supporting collaborative preservation, access, digitization, education, and metadata initiatives.

It would be great if anyone could find any sources should any new references surface, and post them here. Whisternefet (talk | contribs) 10:48, 23 June 2013 (UTC)

Long-term master-film archive storage

Someone might want to expand on long-term storage of the original master films, such as storage at Underground Vaults and Storage at a salt mine in Hutchinson, Kansas and other similar places. The one in Hutchinson is the "largest single storage facility for movie and television film internationally", see [1]. • Sbmeirow • Talk • 06:04, 9 October 2014 (UTC)

Another advertising section?

Like MIC discussed above by Whisternefet, the section 9 Video Aids to Film Preservation is soapboxy and largely unverified except by self-referencing. I think it needs to be reduced to a more generic treatment (if suitable third-party sources are found) or else scrapped altogether. Thoughts? Bjenks (talk) 10:03, 23 July 2015 (UTC)

Conservation and restoration of film and Film preservation seem to have a similar theme

Conservation and restoration of film (author User:Aperegoy) and this article are perhaps candidates for merger-perhaps the authors need to talk? DadaNeem (talk) 15:21, 14 August 2017 (UTC)

I agree. These articles should be merged. -Michellecornelison (talk) 07:11, 9 March 2021 (UTC)

Copies of film on tape

What films survived only on tape? --207.233.110.67 (talk) 20:06, 18 March 2019 (UTC)