This moving image format type consists of B&W and color photochemical emulsions on translucent plastic backing with sprocket holes running down one or both sides of the film strip. The film strip may contain an optical or magnetic soundtrack. Each of the formats featured are defined by the width (or "gauge") of the film.
Type | Support | Binder | Image |
---|---|---|---|
B&W | Plastic (Nitrate, Acetate, or Polyester) | Gelatin | Silver Particles |
Color | Plastic (Acetate or Polyester) | Gelatin | Yellow, Magenta, and Cyan Dyes |
Film is unique compared to other AV media in that the information can be seen with the naked eye: one can see the images printed on the film without an intermediary machine. A means of projection, however, is required in order to view the film as intended. For each film gauge, there is a family of like-gauged equipment and supplies designed to work together. Manufacturers make the film stock with holes, usually along the edges, to advance the film strip through the sprockets of same-gauged cameras and projectors. Stated simply, you must have a projector that corresponds to the film gauge you have in order to play it back.
Film incurs the most physical wear through playback, typically at the beginning and end of the film. Films can become stuck in the projector or misalign with the take-up sprockets, causing sprocket holes to tear and other serious damage. For film in poor condition, projecting a film can pose a significant risk, since projectors can inflict additional damage to films already weakened by shrinkage, tears, or decay. We highly recommend having a skilled technician perform a thorough inspection of the film and playback equipment prior to projecting the film.
Ideal | Acceptable | |
---|---|---|
Temp. | 0–32°F (-18–0°C) | 33–54°F (1–12°C) |
RH | 30–50% RH |
Container: Film is ideally stored in a vented inert plastic can. Vents allow the film to “breathe” an even air exchange (crucial for acetate). The enclosure may be plastic, non-corrosive metal, or archival quality paperboard. Dirty, rusty, non-vented, or dented metal containers will only heighten the potential for film damage. The container your institution uses will largely depend upon the environment.
If storing film in a room temperature environment, vented containers composed of polypropylene or polyethylene are optimal. If you are storing your film in freezing temperatures, your cans should be sealed and moisture-resistant. In any case, cans should be clean and free from debris, rust, and structural damage. When freezing film, ensure that the the film is properly housed by double-bagging it in zip-sealed freezer bags.
Core: Film should be stored on a core, which is ideally made from inert plastic, rather than on a reel. For 16mm and 35mm, the National Film Preservation Foundation (NFPF) recommends that the core be at least 3 inches wide. A wider core diameter lessens stress on the film as the film will not be wound as tightly. Smaller film gauges may be wound on smaller (less than 3") cores. A core is distinct from a reel. A reel is a metal or plastic hub with extended sides between which the film is wound for projection. Reels—especially metal, dented, or otherwise damaged reels—are NOT appropriate for long-term storage.
Film should be stored stacked horizontally. It is best to store film flat and on an inert plastic core because of its considerable weight and the way that it is wound. Doing so will allow the film to maintain an even, rounded shape. Stacking film on reels without a film canister of some kind is not recommended because the reels will, over time, be compressed and can press into the film itself.
Store acetate film separately from other materials in order to mitigate the effects of acetic acid decomposition (e.g. off-gassing). Wood cabinets should be avoided. Enameled steel, stainless steel, or anodized aluminum are preferred.
Always wear nitrile or cotton gloves when handling film. Cotton gloves may be problematic if the film has many tape splices or fragile edges/sprocket holes. Handle only by the edges. If you touch the film image or soundtrack without gloves, you will leave fingerprints. Assume the film is easily torn, regardless of base material; take care whenever handling it. Never leave media in a playback machine; always return to storage enclosure when not in use.
If you are interested in freezing infrequently accessed materials, refer to The Home Film Preservation Guide (sec. 8) for detailed steps on how prepare your film for long-term freezing.
Type | Support | Binder | Image |
---|---|---|---|
B&W | Plastic (Acetate or Polyester) | Gelatin | Silver Particles |
Color | Plastic (Acetate or Polyester) | Gelatin | Yellow, Magenta, and Cyan Dyes |
Film is unique compared to other AV media in that the information can be seen with the naked eye; one can see the images printed on the film without an intermediary machine. A means of projection, however, is required in order to view the film as intended. For each film gauge, there is a family of like-gauged equipment and supplies designed to work together. Manufacturers make the film stock with holes, usually along the edges, to advance the film strip through the sprockets of same-gauged cameras and projectors. Stated simply, you must have a projector that corresponds to the film gauge you have in order to play it back.
Film incurs the most physical wear through playback, typically at the beginning and end of the film. Films can become stuck in the projector or misalign with the take-up sprockets, causing sprocket holes to tear and other serious damage. For film in poor condition, projecting a film can pose a significant risk, since projectors will inflict additional damage to films already weakened by shrinkage, tears, or decay. We highly recommend having a skilled technician perform a thorough inspection of the film and playback equipment prior to projecting the film.
Ideal | Acceptable | |
---|---|---|
Temp. | 0–32°F (-18–0°C) | 33–54°F (1–12°C) |
RH | 30–50% RH |
Container: Film is ideally stored in a vented inert plastic can. Vents allow the film to “breathe” an even air exchange (crucial for acetate). The enclosure may be plastic, non-corrosive metal, or archival quality paperboard. Dirty, rusty, non-vented, or dented metal containers will only heighten the potential for film damage. The container your institution uses will largely depend upon the environment.
If storing film in a room temperature environment, vented containers composed of polypropylene or polyethylene are optimal. If you are storing your film in freezing temperatures, your cans should be sealed and moisture-resistant. In any case, cans should be clean and free from debris, rust, and structural damage. When freezing film, ensure that the the film is properly housed by double-bagging it in zip-sealed freezer bags.
Core: Film should be stored on a core, which is ideally made from inert plastic, rather than on a reel. For larger film gauges, the National Film Preservation Foundation (NFPF) recommends that the core be at least 3 inches wide. A wider core diameter lessens stress on the film as the film will not be wound as tightly. Smaller film gauges may be wound on smaller (less than 3") cores. A core is distinct from a reel. A reel is a metal or plastic hub with extended sides between which the film is wound for projection. Reels—especially metal, dented, or otherwise damaged reels—are NOT appropriate for long-term storage.
Film should be stored stacked horizontally. It is best to store film flat and on an inert plastic core because of its considerable weight and the way that it is wound. Doing so will allow the film to maintain an even, rounded shape. Stacking film on reels without a film canister of some kind is not recommended because the reels will, over time, be compressed and can press into the film itself.
Store acetate film separately from other materials in order to mitigate the effects of acetic acid decomposition (e.g. off-gassing). Wood cabinets should be avoided. Enameled steel, stainless steel, or anodized aluminum are preferred.
Always wear nitrile or cotton gloves when handling film. Cotton gloves may be problematic if the film has many tape splices or fragile edges/sprocket holes. Handle only by the edges. If you touch the image or soundtrack without gloves, you will leave fingerprints. Assume the film is easily torn, regardless of base material; take care whenever handling it. Never leave media in a playback machine; always return to storage enclosure when not in use.
If you are interested in freezing infrequently accessed materials, refer to The Home Film Preservation Guide (sec. 8) for detailed steps on how prepare your film for long-term freezing.
Type | Support | Binder | Image |
---|---|---|---|
B&W | Plastic (Acetate or Polyester) | Gelatin | Silver Particles |
Color | Plastic (Acetate or Polyester) | Gelatin | Yellow, Magenta, and Cyan Dyes |
Film is unique compared to other AV media in that the information can be seen with the naked eye; one can see the images printed on the film without an intermediary machine. A means of projection, however, is required in order to view the film as intended. For each film gauge, there is a family of like-gauged equipment and supplies designed to work together. Manufacturers make the film stock with holes, usually along the edges, to advance the film strip through the sprockets of same-gauged cameras and projectors. Stated simply, you must have a projector that corresponds to the film gauge you have in order to play it back.
Film incurs the most physical wear through playback, typically at the beginning and end of the film. Films can become stuck in the projector or misalign with the take-up sprockets, causing sprocket holes to tear and other serious damage. For film in poor condition, projecting a film can pose a significant risk, since projectors can inflict additional damage to films already weakened by shrinkage, tears, or decay. We highly recommend having a skilled technician perform a thorough inspection of the film and playback equipment prior to projecting the film.
Ideal | Acceptable | |
---|---|---|
Temp. | 0–32°F (-18–0°C) | 33–54°F (1–12°C) |
RH | 30–50% RH |
Container: Film is ideally stored in a vented inert plastic can. Vents allow the film to “breathe” an even air exchange (crucial for acetate). The enclosure may be plastic, non-corrosive metal, or archival quality paperboard. Dirty, rusty, non-vented, or dented metal containers will only heighten the potential for film damage. The container your institution uses will largely depend upon the environment.
If storing film in a room temperature environment, vented containers composed of polypropylene or polyethylene are optimal. If you are storing your film in freezing temperatures, your cans should be sealed and moisture-resistant. In any case, cans should be clean and free from debris, rust, and structural damage. When freezing film, ensure that the the film is properly housed by double-bagging it in zip-sealed freezer bags.
Core: Film should be stored on a core, which is ideally made from inert plastic, rather than on a reel. For 16mm and 35mm, the National Film Preservation Foundation (NFPF) recommends that the core be at least 3 inches wide. A wider core diameter lessens stress on the film as the film will not be wound as tightly. Smaller film gauges may be wound on smaller (less than 3") cores. A core is distinct from a reel. A reel is a metal or plastic hub with extended sides between which the film is wound for projection. Reels—especially metal, dented, or otherwise damaged reels—are NOT appropriate for long-term storage.
Film should be stored stacked horizontally. It is best to store film flat and on an inert plastic core because of its considerable weight and the way that it is wound. Doing so will allow the film to maintain an even, rounded shape. Stacking film on reels without a film canister of some kind is not recommended because the reels will, over time, be compressed and can press into the film itself.
Store acetate film separately from other materials in order to mitigate the effects of acetic acid decomposition (e.g. off-gassing). Wood cabinets should be avoided. Enameled steel, stainless steel, or anodized aluminum are preferred.
Always wear nitrile or cotton gloves when handling film. Cotton gloves may be problematic if the film has many tape splices or fragile edges/sprocket holes. Handle only by the edges. If you touch the image or soundtrack without gloves, you will leave fingerprints. Assume the film is easily torn, regardless of base material; take care whenever handling it. Never leave media in a playback machine; always return to storage enclosure when not in use.
If you are interested in freezing infrequently accessed materials, refer to The Home Film Preservation Guide (sec. 8) for detailed steps on how prepare your film for long-term freezing.
Type | Support | Binder | Image |
---|---|---|---|
B&W | Plastic (Acetate) | Gelatin | Silver Particles |
Color | Plastic (Acetate) | Gelatin | Yellow, Magenta, and Cyan Dyes |
Film is unique compared to other AV media in that the information can be seen with the naked eye; one can see the images printed on the film without an intermediary machine. A means of projection, however, is required in order to view the film as intended. For each film gauge, there is a family of like-gauged equipment and supplies designed to work together. Manufacturers make the film stock with holes, usually along the edges, to advance the film strip through the sprockets of same-gauged cameras and projectors. Stated simply, you must have a projector that corresponds to the film gauge you have in order to play it back
Film incurs the most physical wear through playback, typically at the beginning and end of the film. Films can become stuck in the projector or misalign with the take-up sprockets, causing sprocket holes to tear and other serious damage. For film in poor condition, projecting a film can pose a significant risk, since projectors will inflict additional damage to films already weakened by shrinkage, tears, or decay. We highly recommend having a skilled technician perform a thorough inspection of the film and playback equipment prior to projecting the film.
Ideal | Acceptable | |
---|---|---|
Temp. | 0–32°F (-18–0°C) | 33–54°F (1–12°C) |
RH | 30–50% RH |
Container: Film is ideally stored in a vented inert plastic can. Vents allow the film to “breathe” an even air exchange (crucial for acetate). The enclosure may be plastic, non-corrosive metal, or archival quality paperboard. Dirty, rusty, non-vented, or dented metal containers will only heighten the potential for film damage. The container your institution uses will largely depend upon the environment.
If storing film in a room temperature environment, vented containers composed of polypropylene or polyethylene are optimal. If you are storing your film in freezing temperatures, your cans should be sealed and moisture-resistant. In any case, cans should be clean and free from debris, rust, and structural damage. When freezing film, ensure that the the film is properly housed by double-bagging it in zip-sealed freezer bags.
Core: Film should be stored on a core, which is ideally made of inert plastic, rather than on a reel. For larger film gauges, the National Film Preservation Foundation (NFPF) recommends that the core be at least 3 inches wide. A wider core diameter lessens stress on the film as the film will not be wound as tightly. Smaller film gauges may be wound on smaller (less than 3") cores. A core is distinct from a reel. A reel is a metal or plastic hub with extended sides between which the film is wound for projection. Reels—especially metal, dented, or otherwise damaged reels—are NOT appropriate for long-term storage.
Film should be stored stacked horizontally. It is best to store film flat and on an inert plastic core because of its considerable weight and the way that it is wound. Doing so will allow the film to maintain an even, rounded shape. Stacking film on reels without a film canister of some kind is not recommended because the reels will, over time, be compressed and can press into the film itself.
Store acetate film separately from other materials in order to mitigate the effects of acetic acid decomposition (e.g. off-gassing). Wood cabinets should be avoided. Enameled steel, stainless steel, or anodized aluminum are preferred.
Always wear nitrile or cotton gloves when handling film. Cotton gloves may be problematic if the film has many tape splices or fragile edges/sprocket holes. Handle only by the edges. If you touch the image or soundtrack without gloves, you will leave fingerprints. Assume the film is easily torn, regardless of base material; take care whenever handling it. Never leave media in a playback machine; always return to storage enclosure when not in use.
If you are interested in freezing infrequently accessed materials, refer to The Home Film Preservation Guide (sec. 8) for detailed steps on how prepare your film for long-term freezing.
Type | Support | Binder | Image |
---|---|---|---|
B&W | Plastic (Acetate or Polyester) | Gelatin | Silver Particles |
Color | Plastic (Acetate or Polyester) | Gelatin | Yellow, Magenta, and Cyan Dyes |
Film is unique compared to other AV media in that the information can be seen with the naked eye; one can see the images printed on the film without an intermediary machine. A means of projection, however, is required in order to view the film as intended. For each film gauge, there is a family of like-gauged equipment and supplies designed to work together. Manufacturers make the film stock with holes, usually along the edges, to advance the film strip through the sprockets of same-gauged cameras and projectors. Stated simply, you must have a projector that corresponds to the film gauge you have in order to play it back.
Film incurs the most physical wear through playback, typically at the beginning and end of the film. Films can become stuck in the projector or misalign with the take-up sprockets, causing sprocket holes to tear and other serious damage. For film in poor condition, projecting a film can pose a significant risk, since projectors will inflict additional damage to films already weakened by shrinkage, tears, or decay. We highly recommend having a skilled technician perform a thorough inspection of the film and playback equipment prior to projecting the film.
Ideal | Acceptable | |
---|---|---|
Temp. | 0–32°F (-18–0°C) | 33–54°F (1–12°C) |
RH | 30–50% RH |
Container: Film is ideally stored in a vented inert plastic can. Vents allow the film to “breathe” an even air exchange (crucial for acetate). The enclosure may be plastic, non-corrosive metal, or archival quality paperboard. Dirty, rusty, non-vented, or dented metal containers will only heighten the potential for film damage. The container your institution uses will largely depend upon the environment.
If storing film in a room temperature environment, vented containers composed of polypropylene or polyethylene are optimal. If you are storing your film in freezing temperatures, your cans should be sealed and moisture-resistant. In any case, cans should be clean and free from debris, rust, and structural damage. When freezing film, ensure that the the film is properly housed by double-bagging it in zip-sealed freezer bags.
Core: Film should be stored on a core, which is ideally made of inert plastic, rather than on a reel. For larger film gauges, the National Film Preservation Foundation (NFPF) recommends that the core be at least 3 inches wide. A wider core diameter lessens stress on the film as the film will not be wound as tightly. Smaller film gauges may be wound on smaller (less than 3") cores. A core is distinct from a reel. A reel is a metal or plastic hub with extended sides between which the film is wound for projection. Reels—especially metal, dented, or otherwise damaged reels—are NOT appropriate for long-term storage.
Film should be stored stacked horizontally. It is best to store film flat and on an inert plastic core because of its considerable weight and the way that it is wound. Doing so will allow the film to maintain an even, rounded shape. Stacking film on reels without a film canister of some kind is not recommended because the reels will, over time, be compressed and can press into the film itself.
Store acetate film separately from other materials in order to mitigate the effects of acetic acid decomposition (e.g. off-gassing). Wood cabinets should be avoided. Enameled steel, stainless steel, or anodized aluminum are preferred.
Always wear nitrile or cotton gloves when handling film. Cotton gloves may be problematic if the film has many tape splices or fragile edges/sprocket holes. Handle only by the edges. If you touch the image or soundtrack without gloves, you will leave fingerprints. Assume the film is easily torn, regardless of base material; take care whenever handling it. Never leave media in a playback machine; always return to storage enclosure when not in use.
If you are interested in freezing infrequently accessed materials, refer to The Home Film Preservation Guide (sec. 8) for detailed steps on how prepare your film for long-term freezing.
Film formats are composed of two layers: the emulsion layer, which supports the photosensitive material, and the thicker transparent plastic base, which supports the emulsion layer. The base is generally composed of one of three types of plastic: nitrate, acetate, or polyester. Bases may be identified based on a few factors. Date can be an important indicator, as can film gauge. Of the three materials, nitrate is the oldest, is the most volatile, and requires the most care in handling. Acetate film was introduced in 1909. Although it was developed to circumvent the danger of nitrate, acetate film is still subject to its own particular kind of decay. Polyester film is the youngest and most stable film base.
To positively identify the film base, you may have to partially unspool the film. Unspooling film, however, is not without risk. If you are unable or unwilling to unspool your film and if you lack the relevant documentation, we recommend you click on "Unsure" when identifying the film base on the PSAP.
When we talk about film base, we are talking about the plastic layer that is the carrier for the emulsion layer (i.e. the image layer) of film.
Nitrate | Acetate | Polyester |
---|---|---|
Found in 35mm gauge, from c. 1889 through the early 1950s. | Most film stock produced after 1950; some produced as early as 1930s. | Produced after 1955; sold under trade names like Chronar (Dupont), ESTAR (Kodak), and Mylar. |
May have "NITRATE" printed on the edge of the film if manufactured after 1920. | "SAFETY" often printed on the edge of film stock. | Does not tear easily; does not have cement splices. |
Nitrate film odor is often described as having the smell of dirty socks. | Hold the film reel up to a light source (film pack parallel to your eyes). If light CANNOT be seen piping through the film strands, it is most likely an acetate-base film. | Hold the film reel up to a light source (film pack parallel to your eyes). If light CAN be seen piping through the film strands, it is most likely an polyester-base film. |
Most 35mm film bases prior to the early 1950s are composed of cellulose nitrate. Nitrate is a highly flammable material, with nitrate fires being nearly impossible to extinguish once they've started. It can ignite at relatively low temperatures—ranging from 300°F to 105°F in later stages of decay. In the 1920s, Kodak began labeling nitrate film by printing "NITRATE" on the edge of the film.
Acetate film in its various chemical forms (ranging from cellulose diacetate in 1909 to cellulose triacetate in the 1940s) was an improvement over nitrate film in that acetate was not nearly as flammable. Consequently, acetate films became to be known as "safety film," and manufacturers identified their film as safety by labeling it as such. The text "SAFETY" is often printed along the edge of early acetate film.
An additional way to identify acetate is to place the film pack parallel to a light source. If light cannot be seen piping through the film strands, it is most likely an acetate-base film. The film will appear opaque and light will not filter through the film pack. Acetate film can be found in a variety of gauges: 35mm, 28mm, 16mm, 9.5mm, regular 8mm, and Super 8mm.
Polyester is the most recently developed film base. It was developed in the mid-1950s, and it continues to be the standard for film-to-film archival preservation because of its durability. It cannot be easily torn and is chemically stable. You can identify a polyester film base by shining light upwards through and parallel to a horizontally oriented film pack. If the pack appears to "pipe" light (i.e. light can be seen through the film pack), the film is polyester-based.
To determine the soundtrack type, partially unspooling the film will likely be necessary. This step, however, is not without risk.
A soundtrack on film is often identified by a continuous stripe running along the length of the film. It looks considerably different than the film picture frames. The strip may be a reddish-brown color (a magnetic, or "mag," soundtrack). It may also look like two strips that contain similar wavy forms (a variable area optical soundtrack), or it may look like a gray strip of varying darkness (a variable density optical soundtrack).
The soundtrack may not be on the film but could be a separate, individual element. For example, some film-makers create a full-coat mag, which is a production or preservation element in which the magnetic oxide recording layer covers one full side of the film surface.
If your film does not have a soundtrack and it is a 35mm or 16mm, you may want to seek out production notes to determine if there are any additional sound elements. Preservationists should watch for commentary, dialog, or music recorded on a separate audiotape reel or cassette that was intended to be played with the film during screening. This is particularly the case with collections of amateur and avant-garde films.
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