299 service’ ofthe1963AcademyAwardwinner, films mayclimbto75percentorhigher. the silentperiod(roughly1893to1930),ratiooflost atrical filmsmadebefore1950havevanishedforever.For forms. It’scommonlybelievedthatatleasthalfofallthe- ever, thecinemaisactuallyamongmostfragileofart starring GretaGarbo. will berememberedforitsmovies.” commerce, butfortheircomposersandartists.America societies arenotrememberedfortheirpoliticsor relatively recentpast.” hundreds uponofmouth-wateringtitlesfromthe Condemned by LillianGish,islost.So under pink skies. ThankyouEastmanKodak.” under countryside red a across romping red. TomJonesisnow a memory.Thewholedamnthinghasturnedfireengine memory ofthoseuswhosawitin1963,arenowjustthat: the marvelousphotographyofthisfilm,thatremainin ‘Color byDeLuxe.’Thevividgreensthatweresovital to Chaney, missing, asare That And sohasthatsnappy,racy,pre-Codecomedy Laurel andHardy,hasdisappearedwithhardlyatrace. color featuredirectedbyLionelBarrymoreandfeaturing tion in suchpoorconditionwhentheyarrivehere.” rioration withmostofthesefilmsbecausetheyareusually h emnneadCr fClrPoorpsChapter9 9. The PermanenceandCareofColorPhotographs “We arepresentlypresentingtheonly35mmprint‘in “For amediumthatgiveseverypromiseoflivingfor- “Remodeling “Nothing reallylastsoutsidetheworldofart.Most “I don’tknowifit’sworthtryingtopreventfurtherdete-
City
Royal The Permanent PreservationofColorMotionPictures to KeepColorMotionPicturesUnchangedforManyHundredsorEvenThousandsofYears Reversal Originals,LaboratoryIntermediates,andReleasePrintsIstheOnlyViableWay Low-Temperature, Humidity-ControlledStorageofOriginalCameraNegatives,Color Cleopatra (1933),starringJoanBlondell.D.W.Griffith’s See page301forRecommendations
(1928)withGaryCooperandFayWray, Girl April 23,1980 Gateway Cinema,SanFrancisco Jack Tillmany of theFactualFilm–1979 The AmericanArchives Stanley Yates,curator American Frank Thompson Walt DisneyCompany–April16,1982 Michael Eisner,chairman
Her (1926)withW.C.Fieldsisamongthe London (1917)withThedaBara,
Husband 2 The
Film After
Rogue –August1991 (1920),theonlyfilmdirected
The Midnight
Song Divine 1 (1930),aTechni- (1927)withLon
Woman Legion Tom 3 4 Conven- (1928),
Jones of
the , future, likeoilandgasreserves.” backlog, orfilmlibraries,areworthmoremoneyinthe simple butremarkable:The division willhaverevenueof$1.1billion.Thearithmetic is ing fasterthanourmemories.” in protecting those assets.” in protectingthose ies isincalculable.Wethinkitimportantforustoassist in Hollywood’sfilm,videotapeandmagneticsoundlibrar- and productionvalues.Thevalueofassetscurrentlystored will beademandforsoftwarewithstrongentertainment sets, VCR’sandlaserdiskplayersduringthe1990’s,there As westarttoseeanincreaseinthenumbersofHDTV grams producedintheWesternworld. who haveneverseenthousandsofmoviesandTVpro- oping countries.Therearemanypeopleallovertheworld 1990’s, weanticipatetheopeningofnewmarketsindevel- mand formoreprogramming.Duringtheremaining television industriesinmanycountriesiscreatingade- U.S. andinotherpartsoftheworld.Theprivatization channels ofdistributionfortelevisionprogramminginthe the worldduring1980’s.Today,therearemanynew the rapidspreadofVCR’sandlaserdiskplayersaround for syndicatingfilms.Thesameprocesswasrepeatedwith ing the1950’sand60’s.Thatcreatedanenormousmarket would bepriortothecommercialsuccessoftelevisiondur- market. SoDisney’sprofitis $200 millionintheU.S.alone.” cassette costsabout$2tomanufacture andperhaps$2to revenue tothecompanywill be$270million.Eachvideo- sales forabout$13.50.With[a record]20millionunits,the cassette carriesasuggestedretailpriceof$24.99andwhole- “The moviecompaniesarelikeoilproducers.Their “. .Disneyhomevideoisawashinprofits.In1992the “The visualrecordoftwentiethcenturyAmericaisfad- This doesn’tbegintoaddressthefutureneedsofHDTV. “[Not] manypeoplerecognizedhowvaluablefilmlibraries Hollywood, California–May1992 Eastman KodakCompany Motion PictureandTelevisionImagingDivision Joerg D.Agin,vicepresident The Robert Lenzner January 14,1983 National EndowmentfortheArts Frank Hodsoll,chairman December 24, 1992 The Richard Turner
Boston Wall
Street
Globe 7 Beauty
5 Journal –March1,1981 6
and
the
Beast video- 8
This document originated at on June 6, 2003 under file name: h emnn rsraino oo oinPcue Chapter9 The PermanentPreservationofColorMotionPictures from the and chiefexecutiveofficer,hassaidheexpectsrevenue sible newcabletelevisionnetwork.TedTurner,chairman largest manufacturer ofcolorfilminthe world,andthe are notbeyondhelp.Since Eastman Kodakisthesingle to presentfilms,butsalvage thosemadeinthepastthat the solutiontothisproblem,not onlytoeliminatethisthreat rating drasticallyorareirretrievably lost.Wemustfind films andthewehave made inthepastaredeterio- Kodak colorstockiscausing irreparabledamagetoour point andcannolongerbeignored.Theinstability of flow ofabout$100millionayear.” library. .Thecompanyhassaiditintendstousethe film library.Ineffect,Turnerispaying$1.2billionforthe MGM “The problemofcolorfadinginfilmhasreachedacrisis “Under [the]agreement,Turnerkeepsonly storage facilitiesforitsmotionpicturelibrary(thenewWarnerBros.filmarchiveisdescribedlaterinthischapter). At thetimethisbookwenttopressin1992,WarnerBros.wasonlyotherHollywoodstudiohaveadequatecold director ofOperationsResourcesatParamount,managetheoperationmulti-milliondollar,40,000-square-footfacility. movable shelvingtoconservespace,isRobertMcCracken,asupervisorinArchiveOperations.McCrackenandBillWeber, motion pictures,wentintooperationinJune1990.Shownhereworkingthecolorfilmvault,whichisequippedwith at 40 Melrose AvenueinHollywood,California.Thecolorfilmvault,oneofninevaultsthehigh-securitybuilding,ismaintained The colorfilmstoragevaultintheParamountPicturesFilmandTapeArchive,locatedonstudiolot filmsinprogrammingitsWTBSstationandapos- ° F (4.4 MGM ° June 6,1986 The Michael CieplyandJohnHelyar librarytoprovidethecompanywithcash C) and25%RH.TheParamountarchive,whichwasHollywood’sfirstadequatepreservationfacilityforcolor
Wall
Street
Journal 9 MGM ’s 3,000- is notnecessarilythreatenedbythisfact.” our work.” inherent inthestock..Thisexisting‘flaw’isdestroying must beheldaccountableforthecolorinstabilityflaws chief sourceformotionpicturefilmstock,yourcompany gets redderandredder.” Jaws “. .afteronlyfiveyearstheblue isleavingthewatersof “Dyes fade,colorsbutourmotionpictureheritage whilethebloodspurtingfrom RobertShaw’smouth 10 November 26, 1979 Steven Spielberg,film director April 17,1981 Eastman KodakCompany Henry Kaska,spokesman in themovieindustry–June12,1980 by hundredsoffilmdirectorsandothers Petition senttoEastmanKodakandsigned Martin Scorsese,filmdirector 12 11
October 1992 300
This document originated at on June 6, 2003 under file name: 301 h emnneadCr fClrPoorpsChapter9 The PermanenceandCareofColorPhotographs MotionPictureColorPrintFilms • LaboratoryIntermediateFilms • MotionPictureCameraNegativeFilms • Low-temperature,humidity-controlled storageistheonly • Laboratory Intermediates,andReleasePrints Color ReversalOriginalsandDuplicates, Preservation ofOriginalCameraNegatives, Eastman Color Eastman ColorPrintFilm5384and7384 Secondary Recommendations: Agfa Print Fujicolor PositiveFilm Recommended astheLongestLasting: Film5249and7249( Eastman ColorReversalIntermediate Should BeAvoided(VeryPoorDyeStability): Fujicolor IntermediateFilm8213and8223 Recommended astheLongestLasting: Eastman Eastman ColorNegativeFilm7291 Fujicolor NegativeFilm Fujicolor NegativeFilm Fujicolor NegativeFilm Fujicolor NegativeFilm Fujicolor NegativeFilm Recommended astheLongestLasting: pictures. viable methodofpermanentlypreservingcolormotion Agfa Print Should BeAvoided(VeryPoorDyeStability): Fujicolor NegativeFilm trolled storageat0 gible change.Institutionspreservingfilmwithhumidity-con- more thanathousandyears—essentiallyforeverwithnegli- films storedundertheseconditionsmaybeexpectedtolastfor Extrapolations fromacceleratedagingtestsindicatethatcolor and duplicates,laboratoryintermediates,releaseprints. all valuablecameracolornegatives,reversaloriginals humidity of30%arerecommendedforthelong-termstorage tion Divisionwillalsooperateat0 Archives ofCanada’sMovingImage, DataandAudioConserva- to becompletedin1996Gatineau, QuebecbytheNational presidency). Theadvancedmotion picturepreservationfacility (color motionpicturesandstillphotographs relatedtotheCarter nedy years),andtheJimmyCarter LibraryinAtlanta,Georgia motion picturesandstillphotographsmadeduringtheKen- flights), theJohnFitzgeraldKennedyLibraryinBoston(color motion picturefilmandstillphotographsmadeduringspace and SpaceAdministration(NASA)inHouston,Texas(color Atemperatureof0 EXR CP CP 500TColorNegativeFilm5296and7296 10 ColorPrintFilm 1 ColorPrintFilm LC ° F (–18 PrintFilm5380and7380 LP ° F F F F F F C) includetheNationalAeronautics CRI -250 -64 -500, 8570and8670 -250, 8550and8650 -125, 8530and8630 -64, 8510and8610 8816and8826 ° F (–18 film) D D , 8520and8620 ° F (–18 , 8560and8660 ° C) orlowerandarelative ° C) and25%RH.Itis Recommendations • Motion picturefilmsshouldbestoredinahorizontalposition, Motion • Black-and-whiteseparations(YCM’s)arenotrecommendedfor • Moderate-temperature,humidity-controlledstorageatabout40 • Storageoffilmpackagedinvapor-proof bagsinrefrigerated • Packagingfilmsforlong-termstorage inhumidity-controlled • humidity-controlled storage. last nearlyaslongoriginalcolor materialsinlow-temperature, stored intypicalroom-temperature conditions,separationswillnot the cellulosetriacetatebaseofmost motionpictureseparationfilms ently unstablenatureofsilverimages coupledwiththelimitedlifeof storage spaceoftheoriginalsalone.Further,becauseinher- and, whenstoredalongwiththeoriginals,requirefourtimes print satisfactorilyinthefuturewhencurrentfilmstocksareobsolete, density andcolorbalance,willbecomedifficultorevenimpossible to large lossesofimagequality,donotprovideavisualreferencefor ates, andprints,separationsareextremelycostly,entailpotentially with low-temperaturestorageoforiginalcolornegatives,intermedi- the long-termpreservationofcolormotionpictures. able: 45 tion vaultsbeginningin1993;twostoragetemperatureswillbeavail- dak willofferrentalstoragespaceinitsnewHollywoodfilmpreserva- meets thesetemperatureandhumidityrequirements.EastmanKo- sylvania currentlyofferhigh-securitystorageatmoderatecostthat Kansas CityandNationalUndergroundStorage,Inc.ofBoyers,Penn- above forperiodsofperhaps300years.TheRecordsCenter rials madeonthecomparativelystablefilmstocksrecommended base deteriorationwithacetate-basefilms. semi-sealed containerswillincreasetheratesofdyefadingandfilm- controlling thehumidityinstoragearea.Inaddition,sealedor labor requiredbythisapproachwillintheendcostfarmorethan of bags,pre-conditioningequipment,andthesubstantiallyincreased puncture orsealfailurethatmaygounnoticedforyears,butthecost Not onlycouldthefilmbedamagedordestroyedbecauseofasmall vaults withuncontrolledhumidityconditionsisnotrecommended. with notmorethaneightcansstackedoneontopofanother. mediates arepreservedat40 wood in1990whichallofParamount’scolornegativesandinter- the future.ParamountPicturesconstructedafilmarchiveinHolly- commercial storagefacilitiesareexpectedtooffersimilarservicesin storage vaultsmaintainedat35 opened alargecoldstoragefacilityin1992whichincludescolorfilm (4.4 products. SeeChapter20fordiscussionofcoldstoragefacilities. all colorfilmsmanufacturedbefore1982–86,aswellsomecurrent that areknowntohaveinherentlypoorstability.Thisincludesnearly age filmsthatalreadyshowevidenceoffading,aswellall particularly importanttoimmediatelyplaceinlow-temperaturestor- as tobecompletelyfreeofdust,lint,orotherparticulatematter. film cans,itisnecessarythattheairinstorageareabefilteredso picture films.Topreventcontaminationoffilmsstoredin“vented” tainers arenotrecommendedforthelong-termstorageofmotion fading andfilm-basedeteriorationwithacetate-basefilms,suchcon- sealed orsemi-sealedcontainerswillincreasetheratesofbothdye and plasticfilmcans(tapedoruntaped),vapor-proofbags,other meable cardboardcontainers.Becausestorageinstandardmetal of AmericainLyndhurst,NewJersey)orhigh-quality,vapor-per- polypropylene filmcansavailablefromthePlasticReelCorporation films shouldbeplacedin“vented”plasticcans(e.g.,thevented cold storagefacilities: ° C) and25–40%RH ° F (7.2 ° C) and25%RH,32 issatisfactoryforpreservingunfadedmate- Colorandblack-and-whitemotionpicture ° F (4.4 ° F (1.7 ° C) and25%RH.WarnerBros. ° C) and25%RH. ° F (0 ° C) and25%RH.Other Compared ° F
This document originated at on June 6, 2003 under file name: h emnn rsraino oo oinPcue Chapter9 The PermanentPreservationofColorMotionPictures Forthepermanentpreservationofproductionsoriginatedon • Fornowandfortheforeseeablefuture(probablyfar • Totakefulladvantageoftheimproved imagequalityoffered • Nomatterhowfadedaparticular film mightbe,itshould • Existingblack-and-whiteseparationsmadefromolderfilms • Ifblack-and-whiteseparationsaremade,EastmanPanchro- • should beplacedinlow-temperature storage. color negative,atleasttwoprints, andtheoriginalvideotapeitself film, andprintsofthebestpossible qualityshouldbemade.The videotape, the long-termpreservationofcolorphotographicoriginals. storage systemscannotbeconsideredtoviablealternatives digital filmsystems),andotheroranalogelectronicimage- tal imagedatatapes(whetherornotlinkedtohigh-resolution distant future), essentially unchangedcondition. negatives, filmintermediates,andreleaseprintsbepreservedin quality productatthelowestpossiblecost,itisessentialthat quality demandswillbehigherthanever,andtodeliverthebest- again havetobetransferredtape(and/oropticaldisk).Image 1990’s, theentireholdingsoffilmlibrariesworldwidewillonce With thewidespreadcommercializationofHDTVduringlate transfers eachandeverytimeanimprovedtechnologyappears. have togobackthephotographicoriginalformakingvideo cal changesincetheinventionofvideorecordingin1956),onewill examples inafieldthathaswitnessedalmostconstanttechnologi- and digitalHDTV—high-definitiontelevisionareonlythelatest vision transmissionsystems by eachnewadvanceinvideorecordingtechnologyandtele- about thecolorsthatoriginallywerepresent.) a severelyfadedcolorimagemightyieldsignificantinformation sis ofmaximum-density,minimum-density,andotherpartseven for reconstructionofthecolorimage.(Spectrophotometricanaly- still survivesinmostfadedmotionpicturecolorfilmsasthebasis ization” canbedone,usingthedegradedmagentadyeimagethat niques. Whenseverefadinghasoccurred,computer-aided“color- image enhancement,grainreduction,andcolorrestorationtech- must bepreventedinordertotakebestadvantageoffuturedigital never bewrittenoffasatotalloss. went topressin1992. tive treatmentcouldnotberecommendedatthetimethisbook toner, seleniumgoldchlorideorotherimage-protec- tion, treatmentofblack-and-whiteseparationfilmswithpolysulfide is above40%forlongperiodsoftime).Pendingfurtherinvestiga- cellulose triacetateseparations(especiallyiftherelativehumidity temperature storageisnotsatisfactoryforlong-termof (20–30% RH),moderate-orlow-temperaturestorage.Normalroom- preserve separations,theyshouldbeplacedinhumidity-controlled cantly duringstorageundertypicalfilm-industryconditions.To from whichtheyweremadealmostcertainlyhavefadedsignifi- are veryvaluable, to beavoidedinfutureprintings. exact registrationifcolorfringingandlossofimagesharpnessare is animportantconsiderationbecauseseparationsmustremainin much betterdimensionalstabilitythantriacetate-basefilms.This addition tosuperiorpermanence,polyester-basefilmsalsohave has beentheonlyseparationfilmusedbymajorstudios).In Eastman PanchromaticSeparationFilm5235(whichformanyyears film willlastmuchlongerthanthecellulosetriacetatebaseof Under normalstorageconditions,thepolyesterbaseofSO-202 matic SeparationFilmSO-202(polyester-base)isrecommended. thevideotapesshouldbetransferred tocolornegative analoganddigitalvideotapes,opticaldisks,digi- however,becausetheoriginalcolornegatives (digitalvideorecordingandanalog However,additionalfading • Motion picturesinmuseums,archives,andfilmlibraries Motion • Preservation inlow-temperaturestorageofatleasttwo • Topreventtotallossofvaluablefilmsintheevent • TheAmericanFilmInstitute,inconjunctionwiththeLi- • For viewing andstudypurposes,videotapecopiesshould • (i.e., shouldtheotherprintbedamagedordestroyed). graphic locationandnottouchedunlessabsolutelynecessary vation printshouldbekeptindeadstorageataseparategeo- prints ingoodconditionwillbecomecrucial.Theotherpreser- negatives nowinfilmarchives,andtheavailabilityofrelease gether, itmaynotbepossibletomakeprintsdirectlyfromthe characteristics offilmstocksortheabandonmentalto- tives. Atsomepointinthefuture,becauseofchanges when makingnewprintsorvideotransfersfromduplicatenega- a timingreferenceprintforassessingcolorbalanceanddensity to producevideotapemastersdirectly,anditcanalsoserveas focus ofallfilmpreservationprograms.Oneprintcanbeused of bothdomesticandforeignversions)shouldbethecentral release printsofeveryversionafilm should never,everbeprojected. space program. photographs andcolormotionpicturesdocumentingtheU.S. mission tothesurfaceofmoonin1969,aswellotherstill tion ofthecolorphotographsmadeduringfirstmanned approach hasbeenfollowedbyNASAforpermanentpreserva- sette andvideodiscproduction,ortheatricalre-release.This normally beaccessedfortelevisiontransmission,videocas- operations; itisthefilmelementsinthisfacilitythatwould storage facilityshouldbeclosetoproductionandlaboratory element inthesecondfacilitybelostordamaged.The be accessed;itwouldtheultimatebackupshouldafilm high-security “deadstorage”thatwouldnotnormallyneedto foreign-version releaseprint).Thisfacilitywouldserveasa least onemint-conditionreleaseprint(aswellasacopyofeach tive and/ormagneticmaster,anyimportantouttakes,andat color negative,duplicatenegativeorCRI,soundcutnega- one facilityshouldbeselectedtostoretheoriginalconformed facilities attwodifferentgeographiclocations.Forexample, should bedividedbetweenlow-temperature,humidity-controlled various filmelementsmadeduringthecourseofaproduction ture andvideotapelibraries,museums, andarchives. low-cost storageservicesforcommercial studios,motionpic- nitrate motionpictures.Thehigh-security facilitiesshouldoffer vided forTechnicolornitrateprints andnegativesother areas, isolatedfromotherstorage buildings,shouldbepro- and black-and-whitemotionpicturesvideotapes.Separate rate geographiclocationsforthelong-termpreservationofcolor temperature, humidity-controlledstoragefacilitiesattwosepa- brary ofCongress, tive Film5272issuitableforthispurpose). be madefromacolorinternegative(EastmanColorInternega- be madefromprints; audiences wholiketosee“therealthing.” and therebydamagedforthepleasureofcuratorsfilmgoing must stop.Originalprintsarenotexpendablefilmstobeviewed the worldofscreeningoriginalcolorandblack-and-whiteprints leading filmarchivesandothercollectinginstitutionsaround emerge inthefuture.Thecurrentpracticeofsome masters forwhateverfilmandelectronicreproductionmedia films mustbepreserved—savedsotheycanserveasprinting be routinelyviewedonSteenbecksorsimilarequipment.These portation orlaboratoryhandling,otherdisaster, earthquake, fire,flood,tornado,theft,damageduringtrans- shouldadministercarefullydesigned,low- forprojection,duplicateprintsshould Likewise,printsshouldnot (i.e.,twoprintseach the 302
This document originated at on June 6, 2003 under file name: 303 vision newsfootage hasbeenoriginatedonvideotape. Among production; sincethelate1970’s, however,virtuallyalltele- motion picturefilmswastelevision newsanddocumentary small numberofcopiesfordistribution. and 8mmfilmsrequiringonly asinglecopyforviewingor stantially inrecentyearsand isnowmostlylimitedto16mm market forreversalmotionpicturefilmshasshrunksub- commercial, industrial,andeducationalapplications,the and subsequentbroadcast. to videotapeforeditingandotherpost-productionwork for television,theoriginalcameranegativeistransferred Agfa. Or,inthecaseofmuchfilmingnowbeingdone Print Film5384andsimilarprintfilmsmadebyFuji on motionpicture“printfilms”suchasEastmanColor enue ofthehomevideobusinessisnowmorethan lets intheU.S.thatsellorrentvideotapes,grossrev- sively duringthepastdecade;withmorethan60,000out- sold intheUnitedStates, billion fromthealmostonemovietheatertickets value —ofthemotionpicturesintheirfilmlibraries. much moreimportanttothefilmstudios,monetary genuine appreciationoftheculturalsignificance—and, sion, thattheentertainmentfilmindustryhasdevelopeda disc, cableandsatelliteTV,regularnetworktelevi- large-scale re-releaseofmoviesonvideocassette,video- ers in1991. $3.8 billiontothemotionpicturestudiosandothersuppli- tail homevideomarketintheU.S.broughtanestimated more thantwicethatmuch. negative andprintfilm,amajorreleasemayrequire typical featurefilmrequiresover8millionfeetofcolor est totalever;morethanhalfshowfirst-runfeatures.A than 23,000motionpicturescreensinthecountry,larg- were reissuesofearlierproductions).Theremore releases, 150werefromthemajorstudiosand23films not includingmoviesmadefortelevision(amongthe1991 eocassette, videogames,andothernon-theatricalrevenue. lars comingfromforeigndistribution,licensingtoTV,vid- of FilmLibrariesBeguntoBeUnderstood Only InRecentYearsHastheLong-TermValue films, suchasEastman produced eachyear. negative andprintfilm;thereareabout800suchshows adventure televisionprograminvolves80,000feetofcolor are stilloriginatedonfilm.Anaverageone-houraction- in 1991. million pre-recordedvideocassettesweremanufactured that takeninbymovietheaterticketsales.About300 Fujicolor ColorNegativeFilmF-125,andAgfa films, FujicolorSuper camera colornegativefilmssuchasKodakGoldandEktar Negative Film,whichareinkeyrespectssimilartostill- h emnneadCr fClrPoorpsChapter9 The PermanenceandCareofColorPhotographs Not longago,amajormarket for16mmcolorreversal With videohavingreplacedmotionpicturefilminmost For distributionandprojection,thenegativesareprinted In 1991,theU.S.motionpictureindustrygrossed$4.8 It hasbeenonlysincethemid-1970’s,withadventof According totheentertainmentweekly More than400featurefilmsreleasedintheU.S.1991, Most motionpicturesarenowmadewithcolornegative The majorityoftheprogramsonprime-timetelevision 14 Thehomevideobusinesshasgrownexplo- HG , andAgfacolor EXR 13 withadditionalbillionsofdol- ColorNegativeFilm5245, XRS Variety XT films. 100Colour , there- twice lion; mount, 1990)with$217milliongrossandearning$98mil- Cop 1991 science-fictionactionmovie recent filmshavecostmuchmore:ArnoldSchwarzenegger’s million tocoveradvertisinganddistributionexpenses.Some little over$26million,withperhapsanadditional$10–15 average productioncostforafeaturefilmin1991was $108 million; million grossandearning$168million; by theendof1991,StevenSpielberg’s1982film than $112millionwentbacktothestudioinrentalfees. North Americabytheendof1991.Ofthatamount,more million; thefilmhadgrossedmorethan$200millionin ment) hadarecord-breakingproductioncostofaround$95 tures, whichisinturnownedbySonyPicturesEntertain- production releasedbyTriStar,aunitofColumbiaPic- included lion intheaterrentalfees. lumbia, 1991)with$204milliongrossandearning$112mil- $242 milliongrossandearning$116million; comedy ofalltime; ing $140million,whichmakesthefilmtop-grossing lication ing infromforeignmarkets. the U.S.andCanadaalone,withmanymillionsmorecom- Extra-Terrestrial lion; lumbia) $61millioninrentals; theAcademyAwardwinner Earnings CanBeImmense Making MoviesIsCostly,Butthe motion picturefilmintheWesternworld. Agfa-Gevaert istheonlyothersignificantproducerofcolor and sellsasubstantialamountoffilminAsiaEurope. share ofthetheatricalandtelevisionmarketinNorthAmerica However, FujiofJapanhasbeengaininganincreasing pany currentlyhasmorethan75%ofthedomesticmarket. United States—industryobserversestimatethatthecom- videotape sotheycanviewthemontheirtelevisionscreens. are havingalloftheirold8mmhomemoviestransferredto 8mm homemoviesathingofthepast.Now,manypeople amateurs, thewildlypopularvideocamcorderhasmade (Fox) $46million; The and earning$133million; Home $86 millioninrentalsatthe end of1991; million; Brothers, 1989)with$251milliongrossandearning$151 Trek lion grossandearning$194millionintheaterrentalfees; domestic markets: grossed morethan$200millionfromtheaterticketsalesin Family $223 milliongrossandearning$142million; Major theatricalfilmscostagreatdealtomake—the The mostsuccessfulmoviescanearnastaggeringamount: Other filmsfrom1991thatdidverywellattheboxoffice By theendof1991,accordingtoentertainmentpub- Kodak sellsmostofthemotionpicturefilmusedin
(Paramount,1984)with$235milliongrossandearning Silence
Ghostbusters Boyz VI:
Alone (Paramount)$55million; Variety Raiders
The Robin
N
of (Fox,1990)with$282milliongrossandearn-
the The Undiscovered
the , tenothermoviesinadditionto
Hood: of Hood hadgrossedanestimated$360millionin (Columbia,1984)with$214milliongross
Cape Lambs 15 Empire
Return the
Star
(Columbia)$27 million;
Prince Lost Fear (Orion)$60million;
Wars of Strikes
Country
(Universal)$32million; the Ark
of Terminator (Fox,1977)with$323mil-
Jedi Sleeping
(Paramount,1981)with Terminator Thieves
Back (Paramount)$32mil- (Fox,1983)with$264 (Fox,1980)with City Batman
(WarnerBros.) With
2
(TriStar/Co- Ghost Beverly Slickers The 2 (aCarolco
the New (Warner E.T. E.T.
Addams
(Para- Enemy
(Co- Jack Hills
had Star The
This document originated at on June 6, 2003 under file name: million; and of the endof1991. Beauty and the and Beauty Beast UA City Chapter9 The PermanentPreservationofColorMotionPictures videocassette sales. time. Manymillionsofdollarsmorewereearnedfrom in 1961,makingitthemostsuccessfulanimatedfilmofall $68 millionintheaterrentalfeessinceitwasfirstreleased mated film, to seethem)sincetheyweremade.AnotherDisneyani- (figuring thatanewgenerationofchildrenwouldbeready releasing manyofitscartoonfeaturesona7-yearcycle the then50-year-oldanimatedfilm;Disneyhasbeenre- more than$62million.Thiswastheseventhre-release of Snow Walt Disneyestimatedthatfollowingthe1987re-release In a ) $20million; take fulladvantageofeachmajorimprovementinTVtechnology,thefilm-to-tapetransferprocesswillhavetoberepeated. late 1990’s,producerswillhavetogobacktheirfilmoriginalsmakenewfull-frame,high-resolutionvideotransfers; to old movies.Whenhigh-definitiontelevisionbroadcasting,cable,VCR’s,andvideodiscplayersbecomecommonplaceinthe many oflesserdistinction,havebeenreleasedonvideocassette.CableandsatelliteTVfurtherfueledthedemandfor business hasunderscoredtheneedtoproperlypreservecolorandblack-and-whitefilms.Practicallyeveryfilmofnote, With thegreatmajorityofhouseholdsinUnitedStatesnowhavingvideocassetterecorders(VCR’s), (WarnerBros.)$22million; industry’s most profitablemovieoftheyear. money attheboxoffice,itwill probablybethe Variety
White When “BeautyandtheBeast” stopsearning 101 JFK story aboutDisney’s1991animatedfeature
and
Dalmatians (WarnerBros.)$14millioninrentalsat The
the
, Fisher Charles Flemingreported:
Seven , hasearnedDisneymorethan
King
Dwarfs, Thelma (TriStar/Columbia)$18 thefilmhadearned
&
Louise ( MGM / that oftheaterticket receiptsintheUnitedStates. revenue fromvideocassetterentals andsalesexceeded outlets intheworld.In1987,for thefirsttime,nationwide City isoneofthelargestvideocassette rentalandsales The VideoShackstorenearTimes SquareinNewYork
Carol Brower 1987 (2) 304
This document originated at on June 6, 2003 under file name: 305 positives ( major studiosgenerallymakeblack-and-whiteseparation little toprotectitsmostvaluableassets.Althoughthe for. Itisdifficulttothinkofanotherindustrythatdoesso often astonishingtoseehowpoorlymostfilmsarecared feature —anditspotentialearningsovertheyearsitis tion intheUnitedStates: dowment fortheArts,gavea grimassessmentofthesitua- temperature, humidity-controlled storage. movies throughfiresandfailuretoprovideproperlow- preserving nitratefilmandhavelostcountlessvaluable seriously underfunded—havegenerallydoneapoorjob like thoseinmostothercountries,areill-equippedand the partofKodakandothermanufacturers. the importanceoffilm-baseandcolor-imagestabilityon on thepartofmoviemakersandgeneraldisregardfor preservation hasbeencharacterizedbyincredibleneglect the commercialmotionpictureindustry,storyoffilm trate filmsuppliedbytheEastmanKodakCompany,launched stocks onwhichtheyweremade. by thedyestabilitycharacteristicsofparticularfilm conditions orworse,andtheireventuallifewillbedictated news purposes—arestoredatnormalroom-temperature mentary, educational,advertising,scientific,ortelevision provided forsuchfilms. television productions,andcoldstorageisalmostnever only afewexceptions,separationshavenotbeenmadefor libraries atthetimethisbookwenttopressin1992.With ner Bros.hadadequatecoldstoragefacilitiesfortheirfilm most valuablefeatures,onlyParamountPicturesandWar- Are StoredUnderPoorConditions Motion PictureFilmsGenerally Chapter 9 probably willhaveanindefiniteappeal. The PermanenceandCareofColorPhotographs movies, suchas tures averylongpotentialmarketlife.Themostpopular cable TV,satelliteandvideodiscsgivemostmajorfea- release, expandingaftermarketssuchasvideocassettes, office hits,butfollowingorevensimultaneouswiththeater showings aroundtheU.S.sinceitsreleasein1976. $37 millioninrentalsfromitsalmostcontinuousmidnight Considering thecostofmakingandmarketingamajor The Frank Hodsoll,aformerchairman oftheNationalEn- Institutional filmarchivesintheUnitedStates—which, Since 1894,whenThomasEdison,usingcelluloseni- The greatmajorityoffilms—whethermadefordocu- Most films,ofcourse,donotearnasmuchthebox theatrical films producedbefore1952have al- other $100millioninrevenueto[Disney]. in, andunitsalesexceed10million,addan- million. Whenvideocassettesalesarefigured markets aretakenintoaccount,ofabout$30 the studiowithcashprofits,beforeancillary with boxofficetotalsof$120million.Thatleaves other $10to$15million,thefilmwillwindup lion, andadvertisingreleasecostsofan- After anestimatedproductioncostof$25mil-
Rocky I wasappalledtolearnthat one-halfofthe YCM
Horror ’s) fromtheoriginalcolornegativesoftheir Casablanca
Picture
Show and Gone (Fox)hasearnedover
With
16 the
Wind, ing ofcolormotion picturesbyBillO’Connell thatappeared certain oftheircolornegative products. both KodakandFujimotion pictureprintfilmsaswell ready ledtosubstantialimprovements inthestabilityof motion picturestocksinthe Westernworld,andhasal- Agfa-Gevaert ofGermany,the majorproducersofcolor age stabilityamongEastmanKodak,FujiofJapan,and first time,introducedcompetitionintheareaofcolorim- current andfuturecolorproducts.Thisinturn,forthe formation onlightfadinganddark-storagestabilityofits and toannounce,inAugust1980,thatitwouldreleasein- to abandonitspolicyofsecrecyregardingcolorstability when aseriesofeventsbeganthatultimatelyforcedKodak film manufacturers. lecting wereacloselyheldsecretofKodakandtheother characteristics ofthecolorfilmstheywereusingandcol- had tobestoredpreserveitforthefuture—fading clear ideaofwhattheyweredealingwithandhowthefilm that neitherthemoviestudiosnorfilmarchivistshadany nicolor process. ditions hadafarshorterlifethanfilmsmadebytheTech- negative andprintfilms,whichundertypicalstoragecon- Chapter 10)—leavingtheindustrywithEastmanColor permanent Technicolorimbibitionprintingprocess(see cinematography. way tothemassconversionfromblack-and-whitecolor and EastmanColorPrintfilms.Thesefilmsquicklyledthe Kodak launchedthefirstofEastmanColorNegative motion pictureindustrythroughouttheworld,Eastman the hazardouscellulosenitratefilmthenbeingusedby cellulose triacetate“safetybase”filmasareplacementfor Suffered fromVeryUnstableColorImages For MoreThan30Years,EastmanColorFilms An importantinfluencewas a majorarticleonthefad- This sadstateofaffairscontinueduntilthemid-1970’s, The colorfadingproblemwasmadeworsebythefact With thatchangecamethedemiseofessentially In 1950,almostsimultaneouslywiththeintroductionof partial obliterationofournation’shistory. not onlyalossofanartisticobject,itisalso appearance ofafilmorvideotapeistherefore others sawus,atapointinourpast.Thedis- which tellsushowwesawourselves,and ticular period.Everyfilmisatimecapsule social perspectives,andthehistoryofapar- film thatdoesnotinstructusintheart, culture. distinctive contributiontointernationalartand film isperhapsourmostsignificantand uted toAmericanCulture.Manybelievethat shaped, influenced,andsubstantiallycontrib- means. escaped fire,decay,ordestructionbyother duced before1930,lessthanoneinfivehave remaining halfwillnotsurvivethiscentury. neglect. Underpresentconditions,mostofthe ready beenirretrievablylostduetodecayand It isvirtuallyimpossibletoconceiveofa American filmsandtelevisionhave Of the11,000Americanfeaturefilmspro- 17
This document originated at on June 6, 2003 under file name: appeared in magazine. O’Connellbegan: in theSeptember–October1978issueof Chapter9 The PermanentPreservationofColorMotionPictures Library ofCongresswrote: cence (1991); and Goodfellas Temptation ofChrist Color ofMoney King ofComedy (1977); (1976); Here Anymore Streets pictures, hasdirected drive topreservecolormotion Martin Scorsese,aleaderinthe The followingmonth,inanotherimportantarticlethat passed allotherproblemsoffilmpreservation. only reachedepidemicproportionsbuthas there isagrowingawarenessthatithasnot now adrab,duskyrose. purple. Thesunny,windsweptfieldsof that runsfromdull,muddypinktodeep,garish jarring mixtureoffadeddyesinaspectrum at fault.Whatwasonceacolorfilmisnow riorated beforehiseyes—andmemoryisnot so clearinabuff’smemory,lookstohavedete- jection boothhitsthescreen.Butoldfilm, expectant audience,andabeamfromthepro- — shadowsof their formerglory. to indistinguishable—oratleast undistinguished color filmsmadesincethemid-fifties willfade tion. Thehard,harshfactis thatmostofthe ing todaywillbepassedonto thenextgenera- hope thatthequalityofcolor weareexperienc- movies aresoimpermanent thatthereislittle tragedy. is a potentially it to color], black-and-white basic changeinmoviemaking[theshiftfrom gold andpastelpalacein Marilyn Monroelooksjaundiced.Theflorid homa! (1993). . Colorfadingthreatensallfilms,and (1973); The houselightsdim,ahushcomesoverthe Why? Becausethecolordyesusedintoday’s Whatever theaestheticimportanceofthis Raging Bull New York,York haveturnedaneerie,stridentpink. (1990); American The AgeofInno- (1975); Alice Doesn’tLive (1986); (1983); (1980); Cape Fear Taxi Driver
Film (1988); The Last Mean magazine,PaulSpehrofthe The The The
King Film and Okla-
I Comment is 18 zine whichsaid,inpart: film directorMartinScorsesewrotealettertothemaga- Entire FilmIndustrytotheFadingProblem Film DirectorMartinScorseseAlertsthe severely fadedframesfromEastmanColorprints. process andshowedunfadedTechnicolorframesalongwith included abriefaccountoftheTechnicolordyeimbibition After readingBillO’Connell’sarticlein Both the vate mycolleagues andfriendstoaction. and financestothiscause,in anefforttomoti- problem. Ipersonallyoffer my services,time, band togethertofacetheissue andsolvethe lem, andifneedbe,militant action,wemust raising, publicity,demonstration oftheprob- combat theproblem.Through benefits,fund- and theAcademymustformaunifiedfrontto color problementirely. lessness withinthelifetimesofmostus. today, manyofthesenegativeswillfadetouse- Under thestorageconditionsgenerallyinuse films areprintedhavealimitedlifeexpectancy. that My ownworkhasbeenseverelyaffected,in Bull, suffer forthatloss.Mypresentfilm, tion oftheoriginalconcept,andfilmwill its colorwillhavefadedbeyondanyrecogni- a Technicolorimbibitionfilm.Withinfiveyears, 2001: . Ibelievethatdirectors,filmstudents, Even thepreciousnegativesfromwhich How canwesitbackandallowaclassicfilm, New wasshotinblack-and-whitetoavoidthe
A American
Space York,
New Odyssey,
Film
York and tofademagenta? wasmadetolooklike Film
Comment Film Raging 20
Comment, 19 articles
July 1980 306
This document originated at on June 6, 2003 under file name: 307 Appendix 9.1 and othermanufacturerstomakemorestablefilms(see promoting thepreservationoffilmsandtopressureKodak others inthefield.Scorsesehadanumberofideasfor actors, actresses,cinematographers,filmarchivists,and motion picturefilm.Thepetitionwassenttodirectors, lating apetitionaskingKodaktomakepermanentcolor long-time filmeditorThelmaSchoonmaker,startedcircu- Costello andDonnaGigliottiofhisstaffScorsese’s 1980); Bros., 1973); Bros., 1975); directors, producers, actors,actresses,and filmcritics. Wertmuller, IrwinWinkler,William Wyler,andmanyother Streisand, LilyTomlin,Francois Truffaut,KingVidor,Lina Schrader, StevenSpielberg, MarySteenburgen,Barbra Rowlands, TellySavalas, Thelma Schoonmaker,Paul Penn, SydneyPollack,OttoPreminger, BurtReynolds,Gina and PaulNewman. Lumet, LeonardMaltin,MalcolmMcDowell,LizaMinelli, Elia Kazan,SergioLeone,GeorgeandMarciaLucas,Sidney Milos Forman,JodieFoster,BenGazzara,Jean-LucGodard, Brian DePalma,MiaFarrow,FedericoFellini,JaneFonda, Ford Coppola,JudithCrist,GeorgeCukor,RobertDeNiro, John Cassavetes,MichaelCimino,JillClayburgh,Francis Brakhage, KevinBrownlow,EllenBurstyn,VincentCanby, Bass, BernardoBertolucci,PeterBogdanovich,Stan tion pictureindustrysignedthepetition,includingSaul response tohisappealwasimmediateandoverwhelming. 1993), hasmanyfriendsinthemoviebusinessand versal, 1988); (Universal, 1991);and (Touchstone, 1986); York h emnneadCr fClrPoorpsChapter9 The PermanenceandCareofColorPhotographs Scorsese, thewell-knowndirectorof In early1980,Scorsese,withtheassistanceofMarkdel Also signingwereJackNicholson, JosephPapp,Arthur More than200peopleassociatedwiththetheatricalmo- (UnitedArtists,1977); The
King Alice Taxi onpages343–344attheendofthischapter). Goodfellas
of
Comedy Driver
Doesn’t The The (Columbia,1976);
(WarnerBros.,1990); Last (Fox,1983);
Age Live Raging
Temptation
of
Here
Innocence
Bull Mean The
Anymore (UnitedArtists,
Color New
of Streets
Christ
(Columbia, Cape York,
Of (Warner (Warner
Money (Uni-
Fear New A letterwrittenbyScorseseaccompaniedthepetition: pictures from an aestheticpointofview— insteadprefer- curators hadneverreallycome togripswithcolormotion language mademanycurators andarchivistsuneasy.Some motion picturefilms. portance ofgoodimagestability inthedesignofitscolor at Kodakandspurredthecompany tore-evaluatetheim- in fullbelow. June 1980,wasa“RequestforInformation,”whichisprinted Scorsese’s militantapproach andsometimesstrident Accompanying thepetition,whichwassenttoKodakin mediate — are alreadyfamiliar,buttosomethingmoreim- white filmdeteriorationwithwhichmanyofyou not referringtotheterribleproblemofblackand for nothingbecauseourfilmsarevanishing.Iam Everything WeAreDoingNowMeansNothing! RE: OurFilms To MyFriendsandColleagues: the deplorablestateofcolorfilmtheysupply. tioning themtotakeimmediateactionrectify port. AttachedisalettertoEastmanKodak,peti- then, foritssake,pleaselendyournameandsup- So, ifyoucareaboutyourworkanditsfuture, solution isdevelopinga sion ofthefuturehistorycinema.. and willhavetoaccountfortheconsciousperver- our pastandcurrentwork.Theyarebetrayingus world, willberesponsibleforthedestructionof in theUnitedStatesandmanyotherpartsof matter ofmonthsisinsultingandinsane.. film stockthatisguaranteedtodeteriorateina All ofouragonizinglaborandcreativeeffortis . Asafirststep,pleasejoinusinsigning. The mostpracticalpreservationandeconomic Eastman Kodak,throughtheirtotalmonopoly 22 This2-pagedocumenthadamajorimpact FADING COLOR by MartinScorsese’scampaign. television worldwide,wasinspired in newspapers,magazines,andon well asmanyothersthatappeared fading crisis.The Harlan Jacobsononthecolorfilm tion, featuredafront-pagestoryby the entertainmentindustrypublica- The July9,1980editionof COLOR STABLEFILM . Working with Variety story,as Variety, 21 .
This document originated at on June 6, 2003 under file name: h emnn rsraino oo oinPcue Chapter9 The PermanentPreservationofColorMotionPictures Rochester, NewYork14650 343 StateStreet Eastman KodakCompany Mr. ColbyChandler,President To: Mr.WalterFallon,ChairmanoftheBoard June 12,1980 tions. Scorsese’s “RequestforInformation”follows: potential donorsoffilms,money,orboth,totheircollec- fund-raising effortsoralienatethefilmstudiosthatwere feared thatassociatingwiththeScorseseeffortmighthinder crisis. Some—whorefusedtosignthepetitioneven ing thesituation,andwhatmightbedonetosolve fading problem,howitcameabout,Kodak’spartincreat- film era.Mosthadonlyasuperficialunderstandingofthe ring theblack-and-whitefilmsgoingbackintosilent .Wewouldlike tohavetheestimatedtime ofdarkstor- 1. age requiredfor oneormoreofthecolorimage dyesto Request a directorandscreenwriter. In 1987,KodakpresentedScorsesewithitsCareerAchievementAward,inrecognitionofhisoutstandingachievementsas approximately tentimesmorestablethanthefilmsthattheyreplaced.Fujisoonfollowedwithitsimprovedcolorprintfilm. them withEastmanColorPrintFilm5384(35mm)and7384(16mm).Thesenewfilms,suppliedatnoadditionalcost,were October 1981,Kodakannouncedthatitwasabandoningallofitsexistingmotionpicturecolorprintfilmsandreplacing Kodak toaddresstheseissues.Onemonthafterthemeeting,announcedthatitwouldmakestabilitydatapublic.In the aidofhisstaffandlong-timefilmeditor,ThelmaSchoonmaker,wereleadersinafilm-industryefforttoforce York CityapartmentonJuly14,1980withKenMasonandTonyBrunoofKodak’smotionpicturedivision.Scorsese, of itscolorfilms,directorMartinScorseseandhisassistants,MarkdelCostelloDonnaGigliotti,metinScorsese’sNew Pressing hisdemandsthatKodakimprovethestabilityofitscolormotionpictureproductsandreleasedataforall
for
Information uct areknown. made unlessthestabilitycharacteristics ofeachprod- when thefilmisstoredindarkat75 reach adensitylossof.10fromanoriginal1.0 Intelligent decisionsabout cold storage archives oftheurgentneedto installcoldstoragevaults. manufactured, inordertoconvince thestudiosandfilm stocks, especiallytheoldermaterials whicharenolonger and systemswillresultinthebestlongtermkeeping. currently availableproductsastowhichfilmstocks essary ifoneistomakeanintelligentchoiceamong ity) necessarytopreserveeachofthesematerials. storage conditions(temperatureandrelativehumid- dios, distributors)aretobeabledeterminetheproper mediate filmstockandallreleaseprintstock. dak products,includingcameranegativestock,inter- relative humidityforallpresentandpastEastmanKo- Finally, precisestabilitydata isneededforallfilm Further, thedarkfadingstabilityinformationisnec- This informationisneededifwe(filmmakers,stu- CANNOT ° F and40% be
Mark del Costello – July 14, 1980 308
This document originated at on June 6, 2003 under file name: 309 Kodak sincethe companyfearedthateven aslightrisein jor changeinprocessingchemicals. Thiswasimportantto significant increaseinmanufacturing costs—oranyma- tive andprintfilms,whileat thesametimeavoidingany couplers thatwouldproduce morestabledyesinitsnega- than theonestheyreplaced.) 1950 —insomecaseslaterproductswereevenlessstable Eastman colormotionpicturefilmswereintroduced in attention toimprovingthestabilityofitsproductssince tion wouldhavemadeitplainthatKodakhaddevotedlittle films secret,probablybecausetheaccumulatedinforma- however, continuedtokeepstabilitydataforitsoldercolor policy ofsecrecyregardingcolorstability.(Thecompany, forcing Kodaktwomonthslatertoabandonitshistoric document wasprobablythesinglemostimportantfactor Color StabilitySecrecyPolicy Kodak OfficiallyAbandonsIts h emnneadCr fClrPoorpsChapter9 The PermanenceandCareofColorPhotographs .Howquicklycana 2. .HowmuchresearchanddevelopmentwillEastmanKodak 3. separations. storage offilmandadvocatedmakingblack-and-white SMPTE Kodak boothduringthe1980annualconferenceof Color motionpicturefilms,thepersonnelatEastman Reacting totheoutcryoverpoorstabilityofEastman Kodak alsoaccelerateditsefforts todevelopnewcolor Along withthepetitionanditssignatories,above films. rial atthedarkkeepingstabilitylevelofE-6Ektachrome For thepresent,wewantallcolorpre-printmate- rial? invest intodevelopmentofcolorstablepre-printmate- improvement, arenotstableenoughtobeacceptable. nology. ThenewLFprintfilms,thoughawelcome lease printstockisachievablethroughcurrenttech- will beneeded,yetwebelievethatacolorstablere- prints? Acrashprograminresearchanddevelopment istics equal to or better thanTechnicolorImbibition stock beproduced,withqualityandstabilitycharacter- inNewYorkCityofferedsuggestionsforproper PERMANENT colorreleaseprint rect —thethrustofcriticismswasvalid: rather exaggerated—andinsomecasesactuallyincor- by Scorseseandotherswhichappearedinthepresswere world’s filmheritage. tions thatitwasresponsibleforthelossofmuch being leveledatthecompanyandwassensitivetoaccusa- Kodak wascertainlyuneasyaboutthewitheringcriticisms any problemifnegatives“werestoredasrecommended,” ness, andKodakrepeatedlydeniedthattherereallywas films probablydidnotcausethecompanytoloseanybusi- try PleatoKodak.”WhileallthecomplaintsaboutKodak’s Pix Don’tDie,TheyFadeAway—ScorseseHelmsIndus- product, Eastman ColorPrintFilm5384(35mm) and7384 existing printfilmsandwould replacethemwithanew suddenly announcedthatitwas goingtoabandonallofits Kodak hadreceivedtheScorsese petition,thecompany entertainment industryweekly other countries.Afront-pagestoryintheJuly9,1980 300 newspapersandmagazinesintheUnitedStates publicity inthepress,witharticlesappearingmorethan screen —regardlessofwhomadeit. cheapest productthatproducedacceptableimagesonthe and believedthatmanystudioslabswouldchoosethe term permanenceonthepartofmanymovieproducers Kodak waswellawareofthelackconcernaboutlong- especially trueinthehighlycompetitiveprintfilmmarket. amount ofthemarkettoFujiorAgfa-Gevaert.Thiswas film costswouldcausethecompanytoloseasignificant Color PrintFilm—Fuji Soon Follows Kodak AnnouncesaMuchLongerLasting and relativehumidities). fading rateofanyparticularfilmatvarioustemperatures was keepingstabilitydatasecretandwouldnotrevealthe not eventalkaboutthesubjectmeaningfullybecause it need forbetterstorageconditions(indeed,Kodakcould term colorstabilityofitsmotionpicturefilms; teriorated); early Eastmancolornegativesalreadybeingseriouslyde- in thelossoffilmsonlyafewmoredecades(with be storedunderrefrigeratedconditions,thiswouldresult films wasalsoinadequate,and,sincefewwouldever away inafewyears); they wereavailable—ifthenewprintswouldalsofade tives —orfromseparationsinthefewinstanceswhere was tooexpensivetomakenewprintsfromfadednega- many veryfadedfilmsbeingshownontelevision(sinceit a lotoftroubleandextraexpensewasresultingin being collectedbyarchivesaroundtheworld; prints weregenerallytheonlyforminwhichfilms wholly inadequate; In October1981,onlyalittle morethanayearafter Scorsese’s campaignreceivedatremendousamountof (a) Despite thefactthatsomeofchargesagainstKodak (f) (e) (d) (c) (b) Kodakwasdoinglittletoalerttheindustry therapidfadingofprintswascausingmoviemakers thestabilityofEastmancolormotionprintfilmswas Kodakattachedrelativelylittleimportancetolong- thedyestabilityofcameranegativeandlaboratory insteadofbeingexpendable,asKodakmaintained, Variety washeadlined:“Old
This document originated at on June 6, 2003 under file name: h emnn rsraino oo oinPcue Chapter9 The PermanentPreservationofColorMotionPictures Ancestors asWeReallyWere”andread: in July1983wasentitled“OurDescendantsWillSeeTheir was announcedread,inpart: all, animportantconsiderationinfilmdesign. tion. Kodakwaspersuadedthatlongprintlifewas,after cally wornoutafter6monthsorayearoftheaterprojec- prints werenotintendedtolastlong—mostphysi- sette production.Inthepast,Kodakhadmaintainedthat one printingoodconditionisneededforbroadcastorcas- cassette andcablesatelliteTVmarketswhereonly bility —especiallyintermsofthenewlyemergingvideo- adopted anewattitudeabouttheimportanceofprintsta- came intogeneralusein1982–83. ten-fold improvementindyestability.Thenewprintfilm (16mm), which,accordingtoKodak,hadanapproximately A full-pageadappearingin A brochuredistributedbyKodakatthetimefilm In thecourseofScorsesecampaign,Kodakalso film intended to lastupacentury—even tion andretention.Itisthecolor releaseprint possible withitsexceptional colorreproduc- originally. years fromnowtoseeyour filmasitlooked the future.Youwantaudiences fiftyormore maker wantsaproductiontolastdecadesinto a lowertemperature,suchas55 last fordecades.Testsindicatethatstorageat will provideexcellentcolorpicturesthat . atabout40-percentrelativehumidity work. 5384 willmeanalongerprintlifeforyourlife’s you’re involvedinproducingordistributing— 5384. Alongerprintlifeforyourlife’swork. ies, andprofessionalassociations. mitment: thearchivists,technicalsociet- tinual dialoguewiththosewhoshareourcom- and informationprograms.Maintainedacon- film storage.Developedtechnicalpublications in research.Maderecommendationsforproper color dyestability.Allthewhilewe’veinvested standing. to thepreservationofmotionpicturesislong- the world. We knowwhattheymean,inAmericaandaround ciated theculturalvalueofmotionpictures. the motionpictureindustry. 5384. Eastman’scontinuingcommitmentto vest somuchofyourselfcanliveon. as fivetimes. increase theusefullifeofyourfilmsbyasmuch Eastman colorprintfilm5384/7384 makesit Throughout thisever-changingworld,afilm- Prints storedatnormalroomtemperature Whatever youdoinmotionpictures—whether We’ve devotedyearstotheimprovementof So —while5384isnewourcommitment Eastman KodakCompanyhasalwaysappre- 5384. Createdsothefilmsinwhichyouin- American ° F [12.8 23
Cinematographer ° C ], could sue of layers within the cyan,magenta,andyellow dye-forming layer emulsionsthathaveboth high-speedandslow-speed ample, colornegativesaremade withlow-contrast,multi- designed foroptimumperformance inthecamera;forex- film formotionpictureprojection). Thenegativecanbe case oftheKodacolorsystem, or“prints”ontransparent negative tomakeprintsfor viewing(paperprintsinthe parency film—forthecameraoriginal,andthenusing tages ofacolornegativefilm—insteadreversaltrans- Chapter 1).Kodakveryearlyrealizedthepracticaladvan- still negativeandprintprocessesintroducedin1942(see duced in1950,tracetheirbeginningstotheKodacoloramateur Negative Film color NegativeFilmA8511/8521andFujicolorHighSpeed ments inthedyestabilityofFujicolornegativefilm(Fuji- new colorcouplersthatwouldproducesignificantimprove- his appealreportedlyspurredtherapiddevelopmentof age stabilityamongKodak,Fuji,andAgfa-Gevaert. and started,forthefirsttime,genuinecompetitiononim- ushered inaneweraofconcernaboutcolorfilmstability had everappearedbeforeinthemotionpictureindustry— Fujicolor Positive restoration projects. moting andcoordinatingmotionpicturepreservation tablished TheFilmFoundation,anorganizationforpro- Sydney Pollack,RobertRedford,andStevenSpielberg,es- Allen, FrancisFordCoppola,StanleyKubrick,GeorgeLucas, followed sincethatyear. films in1983;manyadditionalimproved-stabilityhave Motion PictureFilms A BriefHistoryofEastmanColor Another adfor5384,appearingintheJanuary1984is- Eastman colormotionpicturefilms,whichwereintro- A copyofScorsese’spetitionwasalsosenttoFuji,and The newfilm,andtheaboveads—nothinglikethem In 1990Scorsese,togetherwithnotedfilmdirectorsWoody bright colorsofitsworldpremiereexhibition. Decades fromnowitcanstillhavethecrisp, can enjoylongerrunsandwideraudiences. in whichyouhaveinvestedyourtimeandtalent tribution, you’llbepleasedtoknowthatthefilm were. Justsay,“PrintmineonEastmanfilm.” scendants willseetheirancestorsaswereally color imageswilllastfordecadessoourde- look thebestandlastlongest. humidity), itcanlastmuch,muchlonger. (40 degreesFahrenheitand40-percentrelative carefully storedunderrecommendedconditions cent relativehumidity).Infact,when5384is proximately 75degreesFahrenheitand40-per- when storedatnormalroomtemperature(ap- American Order itbyname—Eastmanfilm. Whether you’reinvolvedinproductionordis- Eastman film.It’slookingbetterallthetime. Our newEastmancolorprintfilm’sunique It istheprintfilmwhosecolorimagescan AX
Cinematographer 8512/8522)alongwithanewprintfilm, LP 26 Film8816.Fujiintroducedthenew ,
read, inpart: 25 24 310
This document originated at on June 6, 2003 under file name: 311 h emnneadCr fClrPoorpsChapter9 The PermanenceandCareofColorPhotographs Quebec andwill bepreservedat0 moved totheNationalArchives’ newfacilityinGatineau, 5247 from Rolls oftheoriginalEastmanColor NegativeFilm,Type was movedtotheNationalArchivesofCanadainOttawa,anditisnowstoredat28 the negativewasstillbeingstoredundernon-refrigeratedconditionsatNationalFilmBoard.In1989,color production madeonthethen-newEastmanColornegativefilmandprintfilm.Whenthesephotographsweretakenin1980, production Arnold SchiemanoftheNationalFilmBoardCanadainMontreal,Quebec,withoriginalcameranegative1951 Royal Journey Royal Journey . In1996,thenegativewillbe , afilmdocumentingPrincessElizabeth’stourofCanada.Thewasthefirstfeature-length ° F (–18 ° C) and25%RH. made fromthe separations, butatgreatexpense. negative forproducingprints or videotransferscanbe original colornegative,anda newintermediatecolor Black-and-white separationpositives weremadefromthe ° F (–2.2 ° C) and28%RH.
July 1980 (3)
This document originated at on June 6, 2003 under file name: benefited bothlinesofproducts.Asanexample, phy; thisallowedaconcentrationofresearcheffortswhich nic processesforbothmotionpictureandstillphotogra- forts onessentiallythesamenegative-positivechromoge- print films,itwasevidentthatKodakfocusingitsef- ket in1947atthesametimeasEktacolornegativefilm. closely relatedtotheEktacolorprintfilmputonmar- Eastman ColorPrintFilm,alsointroducedin1950,was followed (seefilmlistingin introduced byKodakin1950andthemanyfilmsthathave sential indevelopingthecolornegativemotionpicturefilm perience gainedwiththestillcolornegativefilmswases- to Kodacoloramateurnegativefilmssoonthereafter.Ex- camera filmintroducedin1947;thetechnologywasapplied in acommercialproductbyKodaktheEktacolorstill color process.Colored-couplermaskingwasfirstincluded reproduction goodenoughtocompetewiththeTechni- to makeanegative-positivesystemwithcolorandtone method ofcolorcorrectioninnegatives,itwasfinallyable tive andprintfilms. ried directlyintotheEastmanmotionpicturecolornega- culties inherentintheearlyKodacolorprocesswerecar- significantly reducedin1953,thedye-imagestabilitydiffi- on display.Althoughtheorange-stainingproblemswere various degrees,whetherornottheywereexposedtolight 1942 untilaround1953haveturnedorangeandfadedto was alsoverypoor—alloftheKodacolorprintsmadefrom color three-stripcameraandimbibitionprintsystem. tablished motionpictureprocessessuchastheTechni- Chapter9 the printswaspoorandnotadequatetocompetewithes- with non-adjustablecameras—thecolorreproductionof to enterthemassmarketforamateursnapshotsmade Kodak knewawide-latitudecolorfilmwasneededinorder system madeitsuitablefortheordinaryboxcamera— ance anddensity). film istimed(i.e.,whenprintsareadjustedforcolorbal- the propercolorbalanceand“mood”forascenewhen and moviemakersputthistogoodadvantageincreating negative filmshaveconsiderablelatitudeinthisrespect, color intermediatesandprintsaremade.Modern for exposureerrorsanddeviationsincolorbalancewhen pearance whenprojectedonascreenindarkenedroom). trast emulsionsothatslideshavethepropervisualap- latitude thancolorreversalfilms(whichhaveahigh-con- layers. Thisgivescolornegativesmuchwiderexposure The PermanentPreservationofColorMotionPictures ommended by this author). ages onconventionalEktacolor paper(apracticenotrec- motion picturefilmintheirstill cameras,printingtheim- are otherwisesosimilarthat somephotographersusethe current Kodakstillandmotion picturecolornegativefilms both introducedin1972. II Film5247,andintoKodacolorforstillcameras, negative filmswereincorporatedintoEastmanColorNegative and finer-grainimagesthanpreviouslypossiblewithcolor ments inemulsiondesignwhichallowedmuchsharper veloper inhibitorreleasing)couplersandotherimprove- With theintroductionofEastmancolornegativeand When Kodakperfectedthecolored-couplermasking The imagestabilityofKodacolornegativesandprints Although theexposurelatitudeofearlyKodacolor With colornegatives,extensivecorrectionscanbemade Although theyusedifferent processing chemicals,the Table 9.1 onthefollowingpage). DIR (de- ferent fadingcharacteristics. effects) becausedifferenttypes offilmgenerallyhavedif- film isintercutwithadifferent typeoffilmusedforspecial faded filmstocksareintercut (e.g.,whencameranegative one scenetoanother. eas —canbeparticularlydistracting asafilmcutsfrom balance —especiallyindetailedhighlightandshadowar- noticeable thanareothers.Thechangesinimagecolor negative, thechangesinsomescenesareusuallymore very scene-dependent.Whenaprintismadefromfaded among thecyan,magenta,andyellowdyes,butcanalsobe the degreeoffadingandresultingcontrastimbalance timed toprintcorrectlybalancedmidtones. blue shadowsandyellowhighlightsifthenegativesarere- yellow dyes,forexample,imagesgenerallywillprintwith Eastman Colornegativesthathavepoor-stabilitycyanand result inoff-coloredshadowsandhighlights.Withearly severely fadednegativesexhibitcontrastimbalancesthat color negativefilmsfadeatsignificantlydifferentrates, ance withnormalequipmentandprocedures. density of2.40to1.92).Thisresultsinaloss of theimage(forexample,bluedensitydropsfromanoriginal same percentagewillbelostinthemaximumdensityparts from anoriginaldensityof1.20to0.96),approximatelythe density areaofanimage(forexample,bluedrops the image.Thatis,ifa20%lossofdensityoccursinlow is roughlyproportionalthroughoutthefulldensityrangeof discussed laterinthischapter. absorbs moistureandaceticacidvapors.Thissubjectis in tapedfilmcanscontainingasubstancethatstrongly deal withthisproblem,Kodaksuggestedpackagingfilms air. Inarathercontroversialrecommendationonhowto storage inventilatedcontainerssurroundedbycirculating both dyefadingandfilm-basedeteriorationcomparedwith vapor-proof bags)couldsignificantlyincreasetheratesof as standardtapedoruntapedmetalplasticfilmcans(or that storingfilmsinsealedorsemi-sealedcontainerssuch cessing mayresultindrasticlossesimagestability. film —insomecasesdeviationsfromrecommendedpro- washing canalsoreducethestabilityofanegativeorprint humidity ofthestoragearea.Improperprocessingand ture ofstorage,and,usuallytoalesserextent,therelative of theorganicdyeimagesinaparticularfilm,tempera- projections issosmallastobealmostinconsequential. jection, thetotallightexposureevenafterhundredsof light foronlyasmallfractionofsecondduringeachpro- “dark fading”reaction.Sinceeachframeisexposedto images inmotionpictureprintfilmsisalmostentirelya Causes ofColorMotionPictureFading printing, itis some otherselectedcolorbyre-timingthenegativefor a fadednegative,andtoachievebalancedfleshtoneor possible tocorrecttheoveralldensityofaprintmadefrom the bluerecord(yellowdyeimage)ofimage.Whileitis When acolornegativefadesindarkstorage,thefading Research disclosedbyEastmanKodakinlate1992showed Dark fadingratesareafunctionoftheinherentstability Even afterrepeatedprojections,thefadingofdye Re-timing andprintingproblems areexacerbatedwhen How noticeablenegativefadingisnotonlydependson As thecyan,magenta,andyellowdyesinallcurrent not possibletocorrectforthecontrastimbal- contrast of 312
This document originated at on June 6, 2003 under file name: 313 ata X 0TClrNgtv 1989 1992 Eastman EXRColorNegativeFilm 5293and7293 1986 1989 Eastman EXR500TColorNegative 1989 Eastman EXRColorNegativeFilm 5248and7248 Eastman EXRColorNegativeFilm5245and7245 Eastman ColorHighSpeedDaylight 1983 1986 1985 1986 Eastman ColorHighSpeedSANegativeFilm5295 Eastman ColorHighSpeedNegativeFilm7292 1982 Eastman ColorNegativeFilm5247 Eastman ColorHighSpeed 1980 1982 Eastman ColorNegativeFilm7291 1976 Eastman ColorHighSpeedNegativeFilm5293 1974 Eastman ColorNegativeIIFilm5247 1972 Eastman ColorNegativeIIFilm5247 1968 Eastman ColorNegativeIIFilm7247 1962 Eastman ColorNegativeIIFilm5247 1959 Eastman ColorNegativeFilm,Type5254 1952 Eastman ColorNegativeFilm,Type5251 Eastman ColorNegativeFilm,Type5250 Eastman ColorNegativeFilm,Type5248 Camera NegativeFilms EastmanColorNegative,LaboratoryIntermediate, Table 9.1 h emnneadCr fClrPoorpsChapter9 The PermanenceandCareofColorPhotographs Film 5296and7296 Negative Film5297and7297 (35mm only) (16mm only) (name changeonly;sameas1980versionof5247) (35mm only) Negative Film5294 (16mm only) (35mm only) (35mm only)[3rdversion] (35mm only)[2ndversion] (16mm only) (35mm only)[1stversion] (35mm only) (35mm only) (35mm only) (35mm only) negatives or internegatives); and Type 73 films are 16mm or narrower color print films. negatives orinternegatives);andType73filmsare16mmnarrowercolorprint narrower cameraandlaboratoryfilms;Type53filmsare35mmorwidercolorprint(printedfrom of filmdesignation,Type52filmsare35mmorwidercameraandlaboratoryfilms;7216mm products listedhadbeeneitherdiscontinuedorreplacedwithnewermaterials.UnderEastmanKodak’ssystem Boldface Type and ColorPrintFilmsforMotionPictures and7294 indicatesafilmthatwascommerciallyavailablewhenthisbookwenttopressin1992;theother Introduction Year of ata oo nengtv IFl 221980 1968 1978 1956 Eastman ColorInternegativeIIFilm7272 Eastman ColorIntermediateIIFilm5243and7243 1956 Eastman ColorReversalIntermediate Eastman ColorInternegativeFilm, Eastman ColorIntermediateFilm, 1953 Eastman ColorInternegativeFilm, Eastman ColorInternegativeFilm,Type5245 1952 Eastman ColorInternegativeSafetyFilm,Type5243 ata oo CPitFl 30ad78 1983 1982 1979 Eastman ColorLCPrintFilm5380 and7380 1979 Eastman ColorPrintFilm5384 and7384 Eastman ColorLFSPPrintFilm5379 and7379 1970 1974 1972 Eastman ColorLFPrintFilm5378and7378 1968 Eastman ColorSPPrintFilm,Type5383and7383 Eastman ColorPrintFilm,Type5381and7381 1962 Eastman ColorPrintFilm,Type7381 Eastman ColorPrintFilm,Type7380 1959 1953 Eastman ColorPrintFilm,Type5385and7385 Eastman ColorPrintFilm,Type7383(16mmonly) 1950 Eastman ColorPrintFilm,Type5382and7382 Eastman ColorPrintSafetyFilm,Type5381and7381 Color PrintFilms 1992 Eastman EXRColorIntermediateFilm5244and 1986 Eastman ColorIntermediateFilm5243and7243 Laboratory IntermediateFilms (16mm only) Film 5249and7249 Type 5271and7271 Type 5253and7253 Type 5270and7270 (35mm only) (35mm only) (low-contrast versionof5384for TV applications) (7379 waslittleused;5379sawvirtually nouse) (7378 waslittleused;5378sawvirtuallynouse) (8mm andSuper8mmonly) (8mm andSuper8mmonly) 7244 Improved (triacetate) ; 2244 (polyester) Introduction Year of 1968
This document originated at on June 6, 2003 under file name: classic was alsothepersonbehind1988restorationof1962 made fromtheoriginalcolornegativeof phy. Atthetimeitwasmade, The filmwonanAcademyAwardforcolorcinematogra- ceeding $12millionandemployedmorethan10,000people. humidity-controlled coldstorage.For ticular motion picturefilm,itisfirstnecessary toreacha ring KirkDouglas, James Katzbecameinvolvedwith Color negativehadfadedbeyonduse: release in1991,itwasfoundthattheoriginalEastman project torestoretheepic1960film impact.” and brilliantsix-tracksoundhaveneverforgottenthefilm’s the dazzlingSuperTechnirama70[wide-format]images pher Temperature on ColorFilmFadingRates The ProfoundInfluence of Storage the filminMay1991issueof expensive filmeverproducedinHollywood.Writingabout Chapter9 of The OriginalEastmanColorNegative The PermanentPreservationofColorMotionPictures could easilyhavebeenaverted non-refrigerated storageonarchiveandfilmlibraryshelves, grows worsewitheachdaythatthefilmscontinuetosit in these negatives. Good-quality printscannolongerbestruckfrommany of picture colornegativefilmduringthepastfourdecades. of themoviesshotonEastmanColorandsimilarmotion theatrical features,separationswerenevermadeformost from the1960’sarenowseverelyfaded).Exceptformajor in turnwasusedtomakenewprints(theexisting used toreconstructanintermediatecolornegativewhich still existedingoodcondition,andtheyweresuccessfully videodisc. on television,andhasbeenreleasedvideocassette theater engagementsaroundthecountryin1991,wasshown rations andintherecentrestoration ofthefilm. compared towhatwasspentformakingandstoringsepa- it wasre-releasedin1991wouldhavebeeninsignificant ing the30yearsdatingfromwhenitwasmadein1960until of refrigeratedstoragefortheoriginalcolornegativedur- sors” in1960.Therestored reinsert scenesthatwere“snippedbyorderofthecen- also hadtorebuildthecomplexsix-tracksoundtrackand problem ofthefadingoriginalcolornegative,but To determinetheproperstorage temperatureforapar- Directed byStanleyKubrickandproducedstar- When filmarchivistRobertA.Harrisandhisassociate In therestorationof This worldwideculturalandfinancialtragedy,which Fortunately, theblack-and-whiteseparations( Spartacus , FrankThompsonsaid“audienceswhoexperienced low facialhighlights. tive andendedupwithblueshadowsyel- gone; wemadesometestswiththecameranega- it wasthirtyyearsold.Theyellowlayer Lawrence Universal tookvery,verygoodcareofit,but HasFadedBeyondUse
of Spartacus
Arabia Spartacus 27 , not onlyhadtodealwiththe Spartacus was madewithabudgetex- entirely Spartacus American , RobertA.Harris,who MCA Spartacus bysimplyproviding Spartacus hadanumberof Spartacus /Universal inthe
Cinematogra- was themost foritsre- , thecost in1960 YCM ’s) films haveimage stabilitythatisasgood orbetterthan proved-type AgfaXT320,and AgfaXTS400colornegative useful. Theysuggest,forexample, thatAgfaXT100,im- this authorbelievesthatthe Agfaimage-lifeestimatesare the predictionsobtainedinArrhenius tests.Nevertheless, has indicatedthattherecanbe considerableuncertaintyin mates aregivenin motion picturefilmsforthisbook,and10%dyelossesti- tantly agreedtoprovideacceleratedtestdataforitscolor Measuring color negativefilms,andEastmanColor 7247 canbeconsideredrepresentativeofearlyEastman fading characteristicsofEastmanColorNegativeIIFilm that allofthesefilmshaveverypoorimagestability.The data foritsearliermotionpicturefilms;however,itisknown cardboard boxes,asrecommendedbythisauthor. are storedin“vented”plasticfilmcansorpermeable picture filmsareprobablyreasonablyaccuratewhen sealed container. environment ofastandardfilmcanorothersealedsemi- actual stabilityofafilmwhenitisstoredintheclosed discussed later,suchtestsmayconsiderablyoverstatethe samples surroundedbyrapidlycirculatingair.Aswillbe films arebasedonArrheniustestswithfree-hangingfilm estimates giveninthisbookforEastman,Fuji,andAgfa humidity ontherateofdyefading.Notethatimage-life mates canalsobemadeconcerningtheeffectofrelative ture (see image-life ofthefilmsinstorageatnormalroomtempera- and thisinformationcanbeusedtocomputethepredicted Chapter 2and5ofthisbook. in prefers toevaluatecolornegativefilmsintermsoftheloss motion picturefilms,andthesearegivenin estimates fora10%lossoftheleaststabledyeits 5383 isprobablytypicaloftheearlierprintfilms. – Arrhenius accelerateddarkfadingtestspecifiedin tions areobtainedwiththecomplex,multi-temperature under varioustemperatureandrelativehumiditycondi- ated duringthattime. value —andhowmuchimagedeteriorationcouldbetoler- decision abouthowlongthefilmcouldconceivablybeof the current The “contrastloss”method,however,isnotspecified in negative deteriorationthanisusingsimple“dyeloss”data. contrast isabetterapproachfortheevaluationofcolor rections thatcanbemadeduringprinting,lossofimage tives indarkstorageandbecauseofdensitycolorcor- coupler maskingdensitiesthatcanoccurwithcolornega- loss inimagecontrastoftheleaststabledyewouldoccur. mately 180yearsat75 series colornegativefilmscouldbestoredforapproxi- to Fuji,itsacceleratedtestsindicatethatcurrentFujiF- IT9
Stability image contrast After repeatedrequests,Agfa-Gevaertsomewhatreluc- Thus far,Kodakhasrefusedtomakepublicstability The image-lifeestimatesgiveninthisbookformotion Kodak hasreleasedfading-ratedataformanyofitsfilms, For thisbook,FujiPhotoFilmCo.,Ltd.hasfurnished Image-life predictionsforaspecifictypeoffilmstored While onecanarguethat,becauseofchangesincolored . 9-1990 Table 9.2
. , 28
American of ANSI TheArrheniustestmethodisdiscussedin
Color colorstabilitystandard.
of theleaststableimagedye.According ) oratsomeothertemperature.Esti- Table 9.4
Photographic National ° F (24 ° C) and40%RHbeforea10% . Agfasaidthatitsresearch
Standard
Images (continued onpage 317)
for
Table 9.3 Imaging SP –
Methods PrintFilm
Media . Fuji ANSI
for 314
This document originated at on June 6, 2003 under file name: 315 ata oo eaieI im74 –)3(–Y) 3 (–Y) 6 Eastman ColorNegativeIIFilm7247 (notdisclosed) (notdisclosed) (notdisclosed) Eastman ColorHighSpeedDaylight (notdisclosed) Eastman ColorHighSpeedSA Eastman ColorHighSpeed (–Y) 14 (–Y) 14 Eastman ColorHighSpeed (–Y) 28 NA (–Y) 28 Eastman ColorNegativeFilm5247 (–Y) 3 (–C) 12 Eastman ColorNegativeIIFilm5247 (–Y) 6 Eastman ColorNegativeIIFilm5247 Eastman ColorNegativeIIFilm5247 Camera NegativeFilms UnofficialKodakEstimatesforNumberofYearsRequiredtheLeast Table 9.2 ata oo nengtv im 3(C NA (–Y) 3 (–C) 23 (–Y) 5 (–Y) 25 Eastman ColorInternegativeFilm, (–Y) 50 Eastman ColorInternegativeFilm, (–Y) 15 Laboratory IntermediateFilms (–Y) 30 (–Y) 11 Eastman EXR500TColor (–Y) 22 Eastman EXRColor Eastman EXRColor (notdisclosed) Eastman EXRColor (notdisclosed) (notdisclosed) Eastman ColorHighSpeedDaylight NA Eastman ColorHighSpeed (–M) 50 Eastman ColorHighSpeed Eastman ColorNegativeFilm7291 h emnneadCr fClrPoorpsChapter9 The PermanenceandCareofColorPhotographs Negative Film5297 Negative Film5295 Negative Film5294 Negative Film5293and7293 Type 7272 Type 5271and7271 (1989— ) Negative Film5296and7296 (1992— ) Negative Film5293and7293 (1989— ) Negative Film5248and7248 (1989— ) Negative Film5245and7245 Negative Film7297 Negative Film7292 Negative Film7294 (1972–1983) (1985 namechange) (1980 version) (1976 version) (1974 version) other productslistedhadbeeneitherdiscontinuedorreplacedwithnewermaterials. Boldface Type Density of1.0WhenStoredatRoomTemperature(75 Stable ImageDyeofMotionPictureFilmstoFade10%fromanOriginal indicatesafilmthatwascommerciallyavailablewhenthisbookwenttopressin1992;the t4%R*at60%RH* at 40%RH* er fYearsof Years of trg Storage Storage (not disclosed) Laboratory ata oo nemdaeI 2(C NA (notdisclosed) (notdisclosed) (–Y) 4 (–C) Eastman EXRColorIntermediate 22 (–Y) 8 Eastman ColorIntermediate Eastman ColorIntermediateII Eastman ColorReversal ata oo CPit4 –)2 (–Y) 23 (–Y) 23 (–Y) NA 45 (–Y) NA 45 (–C) 5 (–C) 5 Eastman ColorLCPrint Eastman ColorPrint Eastman ColorSPPrint Eastman ColorPrint Color PrintFilms *Notes: 2244 Film 5244and7244 Film 5243and7243Improved Film 5243and7243 Intermediate Film5249and7249 of 5384forTVapplications) (low-contrast version Film 5380and7380 Film 5384and7384 Film 5383and7383 Film 5381and7381 Film 5293,” Spakowsky, andG.L.Whittier,“EastmanColorHigh-SpeedNegative 100-9, May29,1981;G.L.Kennel,R.C.Sehlin,F.Reinking,S.W. Picture Films author fromdatain Estimated timesforstorageat75 ture filmsprobably deterioration. Therefore,theestimatesgivenhereforcolormotionpic- cans) couldsubstantiallyincreasetheratesofdyefadingandfilm-base and standardtapedoruntapedmetalplasticmotionpicturefilm storing filmsinsealedorsemi-sealedcontainers(e.g.,vapor-proofbags air. ResearchdisclosedbyEastmanKodakinlate1992showedthat tests conductedwithfree-hangingfilmsamplesexposedtocirculating Furthermore, thedyestabilitydatagivenherewerebasedonArrhenius mately doubleswhentherelativehumidityisincreasedfrom40%to60%. showed thatthefadingrateoftypicalyellowdyesinKodakfilmsapproxi- other sources. SMPTE Journal, Whittier, andW.A.Szafranski,“EastmanColorNegativeFilm7291,” R. C.Sehlin,F.Reinking,S.W.Spakowsky,D.L.Clifford,G. 5384,” Spakowsky, W.A.Szafranski,andR.Wien,“EastmanColorPrintFilm K. J.Carl,W.Erwin,S.Powell,F.R.Reinking,C.Sehlin, vists 1992 AnnualConferenceoftheAssociation ofMovingImageArchi- “The EffectsandPreventionof‘Vinegar Syndrome’,”presentedatthe S. Masaryk-Morris,J.Vincent,andP. Miller[EastmanKodakCompany], ture andhumidityconditions.(See: A. TulsiRam,D.Kopperl,R.Sehlin, films whentheyarestoredinstandard filmcansunderthelistedtempera- The estimatesfor60%RHstoragearebasedonKodakresearchthat , SanFrancisco,California,December 10,1992.) (polyester) (1992—) Theestimatesgivenhereshouldserveonlyasgeneralguidelines. SMPTE Journal,
SMPTE Journal, Intermediate (datasheets),KodakPublicationsDS-100-1throughDS- Vol.92,No.12,December1983,pp.1302–1309;and considerably Dye StabilityofKodakandEastmanMotion (triacetate) Vol.91,No.12,December1982,pp.1161–1170; Vol.91,No.10,October1982,pp.922–930;
Films overstatetheactualstabilitiesof ° ° ; F /24 F (24 ° C) havebeenderivedbythis t4%R*at60%RH* at 40%RH* er fYearsof Years of trg Storage Storage ° C)*
This document originated at on June 6, 2003 under file name: uioo oiieFl P –)8(–C) 8 (–Y) 50 (–Y) (–C) >50 9 Fujicolor PositiveFilmLP, (–Y) — Fujicolor PositiveFilmHP, (–Y) 100 Color PrintFilms (–Y) — Fujicolor IntermediateFilm, (–Y) (–Y) 100 — Laboratory IntermediateFilms (–Y) — (–Y) 100 Fujicolor NegativeFilmF-500 (–Y) — (–Y) 100 Fujicolor NegativeFilmF-250D (–Y) — (–Y) 100 Fujicolor NegativeFilmF-250 (–Y) — (–Y) 100 (–Y) — Fujicolor NegativeFilmF-125 (–Y) 100 (–Y) Fujicolor NegativeFilmF-64D (–Y) — 100 (–Y) Fujicolor NegativeFilmF-64 — (–Y) 100 (–C) — Fujicolor NegativeFilmF-500 (–Y) (–Y) — 100 (–C) 40 Fujicolor High-SpeedNegative (–C) — (–Y) 100 Fujicolor High-SpeedNegative (–C) 40 Fujicolor NegativeFilmA250 Fujicolor NegativeFilmA Fujicolor NegativeFilmA Camera NegativeFilms Chapter9 OfficialFujiEstimatesforNumberof Table 9.3 The PermanentPreservationofColorMotionPictures 8816 and8826 8814 and8824 8213 and8223 8570 and8670 8560 and8660 8550 and8650 8530 and8630 8520 and8620 8510 and8610 8514 and8524 Film AX,8514and8524 Film AX,8512and8522 Type 8518and8528 8511 and8521 8517 and8527 tives orinternegatives);type882filmsare16mmequivalents. 881 filmsare35mmcolorprint(printedfromnega- color negativefilmsandtype86are16mmequivalents.Type nation system,adoptedin1988,type85are35mmcamera 852 filmswere16mmequivalents.Underthecurrentdesig- 851 filmswere35mmcameracolornegativeandtype materials. UnderFuji’soldsystemoffilmdesignation,type listed hadbeeneitherdiscontinuedorreplacedwithnewer able whenthisbookwenttopressin1992;theotherproducts Boldface Type Temperature (75 of 1.0WhenStoredatRoom to Fade10%fromanOriginalDensity Image DyeofMotionPictureFilms Years RequiredfortheLeastStable indicatesafilmthatwascommerciallyavail- ° F /24 t4%R at60%RH at 40%RH er fYearsof Years of trg Storage Storage ° C) gaXS40Hg pe 5(Y (–Y) — (–Y) 35 (–C) — (–Y) — Agfa XTS400HighSpeed (–C) — (–C) 10 (–Y) 35 (–C) 10 Agfa XT320HighSpeed Agfa XT100Colour Agfa XT125Colour Camera NegativeFilms OfficialAgfa-GevaertEstimates Table 9.4 gaPitC1 oorPitFl –)—(–C) — (–C) — (–C) — (–C) 5 (–C) — (–C) 5 (–C) 5 Agfa PrintCP10ColourFilm (–C) 5 Agfa PrintCP1ColourFilm Gevacolor PrintFilm982 Gevacolor PrintFilm982 (–Y) — Color PrintFilms (–Y) 35 Agfa XT320HighSpeed was plannedforintroductionin1993) (a triacetatebaseversionofCP10 (polyester base) (triacetate orpolyesterbase) (improved type) (original type) (1993— Colour NegativeFilm (improved type:1993— (original type) Colour NegativeFilm Negative Film Negative Film Colour NegativeFilm materials listed hadbeeneitherdiscontinuedorreplacedwithnewer able whenthisbookwenttopressin1992;theotherproducts Boldface Type ) at RoomTemperature(75 Original Densityof1.0WhenStored Picture FilmstoFade10%froman the LeastStableImageDyeofMotion for NumberofYearsRequired indicatesafilmthatwascommerciallyavail- ) t4%R at60%RH at 40%RH er fYearsof Years of trg Storage Storage ° F /24 ° C) 316
This document originated at on June 6, 2003 under file name: 317 reduced to35 mately 4.5 in typicalKodakfilmsarereducedbyafactorofapproxi- as “acceptable” todaywillnotbeadequate inthefuture. for imagequalitywillcorrespondingly increase.Whatpasses toward fullydigitalhigh-definition systems,thedemands and theshadowsdeep neutral. Astelevisionmoves stain level.Thecolorwillbe brilliant,thehighlightsclean, the original,andthattherehas beennoincreaseind-min ance thatcoloranddensityare absolutelyunchangedfrom optical disctransferisasimpletaskifonehasanassur- ing aprintfromcoldstorageandmakingvideotapeor should betoleratedinmotionpictureprintsaswell.Pull- ing isheldtoanabsoluteminimum. color valuesoftheoriginalproductionwhennegativefad- easier tomakeanewprintthatisclosethedensityand a differentdegreeordirectionofcolorshift—itismuch — eachofwhichmayhaveadifferentamountfadingand types ofcameranegativefilms,specialeffectsetc.) when differentfilmstocksareintercut(e.g.,twoormore and optfortheleastpossiblechangeovertime.Especially ervation program,itisbettertotakeaconservativestance color negative,thisauthorbelievesthatinaseriouspres- to satisfactorilycorrectforagreateramountoffadingin mediate negative.Whileonecouldarguethatitispossible re-timing anegativeforprintingorproducingnewinter- fading, andsuchadyelosscangenerallybecorrectedby tion ofvaluablemotionpicturefilms. cold storagevaulttemperatureforthelong-termpreserva- a goodfiguretoworkwithwhenselectingtheappropriate for comparingthestabilityofonefilmwithanother,andis initial densityof1.0).A10%dyelossisausefulyardstick (e.g., fortheleaststabledyetolose0.10densityfroman cyan, magenta,andyellowimagedyesinafilmtofade10% number ofyearsthatitwilltakefortheleaststable than 75 at 75 indicating that,comparedwithroom-temperaturestorage Is theMostFadingThatShouldBeTolerated A 10%LossoftheLeastStableDye nates thepossibilityoffungusgrowthsonfilms. sion. Humidity-controlledcoldstoragealsototallyelimi- self, italsopreservesthefilmbaseandgelatinemul- Chapter9 temperature storagenotonlypreservesthedyeimageit- increase intheusefullifeofcolormotionpicturefilm.Low- 55 Humidity-Controlled ColdStorage Image-Life PredictionsforLong-Term, that ofFujiandEastmancolorprintfilms. Agfa printfilmscontinuestobeverypoorcomparedwith age-life estimatesalsoindicatethatthedyestabilityof that ofmostEastmancolornegativefilms.TheAgfaim- The PermanenceandCareofColorPhotographs Table 9.5 temperature isreducedto0 ° In long-termpreservationprograms,littleornofading A 10%dyelossinacolornegativeisnotgreatdealof The image-lifepredictionsgivenherearebasedonthe F Image-life predictionsforstorageattemperatureslower (12.8 ° F (24 ° F (24 ° , low-temperaturestorageaffordsa X ° C C whenthestoragetemperatureisreducedto ), byafactorof20 ), thefadingratesofchromogenicimagedyes ° C ° F ) arebasedonresearchbyEastmanKodak (1.7 ° C ), andbyafactorof340 ° F (–18 X whenthetemperatureis ° C ). Ascanbeseenin tremendous X whenthe Cold “colorizing” oldblack-and-whitefilms, become. “like new”motionpicturesget,themorevaluabletheywill run farexceedthecostsofcoldstorage.Theolderthese the moneyandaggravationthiswillsaveinlong ceases forallpracticalpurposes.Withmostcollections, situations, already takenplace—simplycannotbetolerated.Insuch fade anadditional20or30%—ontopofthefadingthathas loss. Thereadercanappreciatethatlettingsuchfilms many films,theamountoffadingwill have alreadysufferedmorethana10%dyeloss.With is thatmostfilmsfoundinfilmlibrariesandarchivestoday temperature isrequiredinalong-termcoldstoragefacility tight limitfor“acceptable”dyefadingindecidingwhat and othercelluloseesterfilms. detrimental effectoncellulose triacetate,cellulosenitrate, As discussedbelow,highrelative humidityalsohasavery reduced ifthefilmisstoredinahigherrelativehumidity. a particularfilm,thelifeoffilmwillbecorrespondingly 40% to60%.Ifyellowistheleaststableofthreedyes in mately doublewhentherelativehumidityisincreasedfrom of fadingsometheyellowdyesinitsproductsapproxi- ity torelativehumidity;Kodakhasindicatedthattherates tempt toputbackthecolorinafadedfilm. the firstplacethanitisto“restore”orotherwiseat- and farlessexpensivetopreventcolorfilmsfromfadingin Have AlreadyFadedMuchMoreThan10% Most OlderColorFilmsinCollections on ColorFilmFading The InfluenceofRelativeHumidity Color (also seeChapter20, ings. Someofthesefacilitiesarediscussedinthischapter midity-controlled coldstoragevaultstoprotecttheirhold- seums, andothercollectinginstitutionstoconstructhu- vinced anincreasingnumberoffilmstudios,archives,mu- aging tended-term storage ofbothcolorandblack-and-white films. age preserved essentially represent thecyan,magenta,andyellowdyeimages. equate separationofthered,green,andbluedensitiesthat there simplyisnotenoughcolorinformationleftforad- hancement techniques.Whenfadingpassesacertainpoint, digital intermediatesystemsorcomputer-basedimage-en- also preventsuccessfulrestorationusingfilm-resolution past thelimitwhereacceptableprintscanbemade. film, theadditionaldyelosscouldverywellpushfilm on thedegreeoffadingthathastakenplaceinaparticular If onecoulddrawananalogytothecostlyprocessof Probably themostcompellingreasonforadoptingavery With low-temperature,0 ANSI IT9.11-1991 ANSI The imagedyesindifferentfilmsvarytheirsensitiv- The realizationthatcolormotionpicturefilmscanbe With seriouslyfadedfilms,theadditionaldyelosscould specifiesarelativehumidity levelof20–30%forex-
Storage Media Films, no
Prints,
– additionalfadingisacceptable.Depending Facilities
Processed
and ,
American forever
Large-Scale, for
Motion
Safety
° the F (–18 atmoderatecosthascon-
Permanent
National
Photographic Pictures ° C ) storage,colorfading
Humidity-Controlled far 29 exceeda10%dye itismucheasier
). Standard
Preservation
Film
for –
Stor-
Im-
of 30
This document originated at on June 6, 2003 under file name: ata oo 315407,800 460 105 1,700 23 100 23 5 Eastman Color 225 Eastman ColorInternegative 50 Laboratory IntermediateFilms (notdisclosed) Eastman EXR500TColor 10,000 600 7,500 135 Eastman EXRColorNegative 440 30 100 Eastman EXRColorNegative (notdisclosed) 17,000 22 2,000 1,000 Eastman EXRColorNegative (notdisclosed) 120 225 (notdisclosed) 27 Eastman ColorHighSpeed 50 6 Eastman ColorHighSpeed Eastman ColorHighSpeed Eastman Color (notdisclosed) Eastman Color (notdisclosed) Eastman ColorHighSpeed (notdisclosed) 9,500 (notdisclosed) 560 Eastman ColorHighSpeed 9,500 560 125 4,000 Eastman ColorHighSpeed 240 28 125 2,000 Eastman ColorHighSpeed 120 28 55 Eastman ColorNegative 27 12 Chapter9 Eastman ColorNegativeII 6 Eastman ColorNegativeII Eastman ColorNegativeII Camera NegativeFilms EstimatesforNumberofYearsRequiredtheLeastStableImageDye Table 9.5 The PermanentPreservationofColorMotionPictures Internegative Film7272 Film, Type5271and7271 (1989— ) Negative Film5296and7296 (1992— ) Film 5293and7293 (1989— ) Film 5248and7248 (1989— ) Film 5245and7245 Daylight NegativeFilm7297 Negative Film7292 Negative Film7294 Negative Film7291 (1974–83) Negative IIFilm7247 Daylight NegativeFilm5297 SA NegativeFilm5295 Negative Film5294 Negative Film5293 Film 5247 Film 5247 Film 5247 Film 5247 (1980 version) (1976 version) (1974 version)
(1985 namechange) Boldface Type of 1.0inStorageatVariousTemperaturesand40%RH* of EastmanMotionPictureFilmstoFade10%fromanOriginalDensity other productslistedhadbeeneitherdiscontinuedorreplacedwithnewermaterials. (24 75 indicatesafilmthatwascommerciallyavailablewhenthisbookwenttopressin1992;the Years ofStorageat40%RH:* ° ° )(12.8 C) F55 ° F35 ° )(1.7 C) ,0 17,000 1,000 ° ° F0 )(–18 C) ° F ° C) Image Archivists ted atthe Company], “TheEffectsandPrevention of‘VinegarSyndrome’,”presen- Sehlin, S.Masaryk-Morris,J.Vincent, andP.Miller[EastmanKodak temperature andhumidityconditions. (See:A.TulsiRam,D.Kopperl,R. films whentheyarestoredinstandard filmcansunderthelisted picture filmsprobably deterioration. Therefore,theestimatesgivenhereforcolormotion cans) couldsubstantiallyincreasetheratesofdyefadingandfilm-base and standardtapedoruntapedmetalplasticmotionpicturefilm storing filmsinsealedorsemi-sealedcontainers(e.g.,vapor-proofbags ture isreducedto0 reduced to35 duced to55 factor ofapproximately4.5Xwhenthestoragetemperatureisre- fading ratesofimagedyesintypicalKodakfilmsarereducedby a that, comparedwithroom-temperaturestorageat75 7,500 Color PrintFilms 2,500 (notdisclosed) (notdisclosed) 440 160 Eastman EXRColorIntermediate 100 36 22 Eastman ColorIntermediate 8 Eastman ColorIntermediateII Eastman ColorReversal Laboratory IntermediateFilms ata oo C4 0 0 15,000 900 15,000 lower than75 (see noteinTable9.2).Predictionsforstorageattemperatures 900 tions DS-100-1throughDS-100-9,May29,1981,andothersources 200 6,800 and EastmanMotionPictureFilms 200 been derivedbythisauthorfromdatain 45 6,800 400 guidelines. Thepredictedtimesforstorageat75 45 *Notes: 400 1,700 90 1,700 100 90 20 100 Eastman ColorLC 23 20 23 Eastman Color 5 5 Eastman ColorLFSP Eastman ColorLF Eastman ColorSP Eastman Color Film 5244and7244 Film 5243and7243Improved Film 5243and7243 Intermediate Film5249and7249 Print Film5380and7380 Print Film5384and7384 Print Film5379and7379 Print Film5378and7378 Print Film5383and7383 Print Film5381and7381 Research disclosedbyEastmanKodakinlate1992showedthat Theestimatesgivenhereshouldserveonlyasgeneral 1992 AnnualConferenceofthe AssociationofMoving ° F (12.8 ° ° F (24 F (1.7 , SanFrancisco,California,December 10,1992.) ° ° ° F (–18 ° C) arebasedonresearchbyKodakindicating considerably C), byafactorof20Xwhenthetemperatureis C), andbyafactorof340Xwhenthetempera- ° C). overstatetheactualstabilitiesof (24 75 Years ofStorageat40%RH:* ° ° (datasheets),KodakPublica- )(12.8 C) F55 Dye StabilityofKodak ° F35 ° )(1.7 C) ° F (24 ° F (24 ° ° F0 )(–18 C) ° C) have ° C), the ° F ° C) 318
This document originated at on June 6, 2003 under file name: 319 yellow dyes,thedyein Fujicolor black-and-white films. a morerepresentative60% RH specifies 20–30% the word“archival”wasbeingdeletedfromall was formerlyknownasarchivalstorage;beginningin1991, tion havingpermanentvalue.”(Extended-termstorage conditions suitableforthepreservationofrecordinforma- Extended-term storageconditionsaredefinedas“Storage (storage foraminimumof10years), dards astheywererevised.)Formedium-termstorage color printfilms(see addition to40% this isespeciallytrueinthewarmerpartsofworld.In locations, higheraveragehumiditylevelsarecommon,and data formostofitscolormaterials.Ingeographic very littleincreaseinitsfading ratewhenstoredat60% Fuji data. h emnneadCr fClrPoorpsChapter9 The PermanenceandCareofColorPhotographs It isinterestingtonotethat unlikemostchromogenic Kodak haschosen40% comparedwithstorageat 40% used forallmotionpictureseparations( to preservethem.Polyester-basefilmsareexpectedlastfarlongerthancellulosetriacetate-baseandshouldbe all celluloseacetate-basemicrofilmseventuallywillsufferthesamefateunlesshumidity-controlledcoldstorageisprovided tropical temperatureandhumidityconditions;althoughthewarmthhasteneddecompositionoffilms, decomposing filmbasesmellsstronglyofvinegar(aceticacid).ThesefilmshavebeenstoredinVenezuelaundersemi- uselessness. Thefilmsaresobrittlethattheycrumbletothetouch,andimagesonbeyondrecovery. These rollsofAgfa,DuPont,andGevaertcelluloseacetatesafety-basemicrofilmfromthe1950’shavedeterioratedto RH RH data,Fujihasalsofurnisheddatausing forcolorfilmsand20–50% Table 9.3 RH RH forreportingimagestability storageconditionforFuji- ). RH LP , accordingtothe ANSI IT9.11-1991 YCM printfilmshows ’s) andblack-and-whitecolormicrofilms. ANSI RH stan- for the deteriorationofblack-and-whiteseparations( Film-base stabilitygenerallyisthemostcriticalfactor in weakest link. print filmsin1950,dyefadingunquestionablyhasbeenthe and, sincetheintroductionofEastmanColornegativeand less concern.Ithasbeenaquestionoftheweakestlink, selves, withfilm-basestabilitygenerallybeingofmuch films hasrightlybeenonthefadingofdyeimagesthem- Relative HumidityonFilm-BaseDeterioration The InfluenceofTemperatureand tives, and,ofcourse, thosefewbutpriceless full-colorTech- and duplicatenegativesmade fromtheoriginal3-stripnega- with Technicolor3-stripcameras, separationinterpositives atrical features. be relieduponforthelong-term preservationofmanythe- age ofvirtuallyallolderoriginal colornegatives,mustnow which, becauseofpoordyestabilityandinadequatestor- This isnottosaythatfilm-basestabilityunimportant. The focusofeffortstopreservecolormotionpicture Also affectedarethecamera separationnegativesmade YCM ’s)
1986
This document originated at on June 6, 2003 under file name: h emnn rsraino oo oinPcue Chapter9 The PermanentPreservationofColorMotionPictures published alandmark surveyoffilmdeterioration invari- in vinegar). strong anddistinctodor,isthe principalacidiccomponent posing celluloseacetate-base film(aceticacid,whichhasa present instorageareasand filmcansthatcontaindecom- drome,” inreferencetothe pungentodorofaceticacid fields. Theproblembecameknownasthe“vinegarsyn- ous concernabouttheprobleminmuseumandarchive films wereallaffected.Bythemid-1980’stherewasseri- tions; motionpicturefilms,microfilms,andstill-camera acetate safetyfilmswasseeninmoreandcollec- age conditionscouldbeencountered.” complaints werealsofromlocationswhereadversestor- had beenstoredinahot,humidclimate.Subsequenttrade base material.“Thisfilm,fromtheGovernmentofIndia, report ofthedeteriorationthisnew“permanent”film lulose triacetatefilm,thecompanyreceiveditsfirstfield purity.” Within10yearsafterKodak’sintroductionofcel- film, andnowherenearasstable“papersofmaximum in somecasestobenomorestablethancellulosenitrate safety-base filmskeptundernormalstorageconditionsproved cellulose triacetateandothertypesofacetate were farmorestablethancellulosenitratefilms: tests atveryhightemperatures,thatcelluloseacetatefilms concluded, basedonrathersimplisticacceleratedaging bility ofcellulosenitrateandacetatefilmsthat of years. manent werebasedonagingstudiesdatingbackanumber dards thatcelluloseacetatefilmbasewasessentiallyper- other manufacturers,andtheU.S.NationalBureauofStan- finally solved.ThemanyassurancesbyEastmanKodak, felt thatthelong-standing“filmbaseproblem”hadbeen lose triacetatefilm,almosteveryoneinthefilmindustry lose nitratemotionpicturefilmwasreplacedwithcellu- come ofconcernforthesefilmsaswell. it ispossiblethatthestabilityoffilmbasecouldbe- man Color,Fujicolor,andAgfacolormotionpicturefilms, in darkstorage—seeChapter10.) in Technicolorimbibitionprintsareessentiallypermanent other chromogenicmotionpicturefilms,thecolorimages comparatively unstabledyeimagesinEastmanColorand nicolor dye-imbibitionprintsthatstillexist.(Unlikethe In 1987,DavidHorvathofthe UniversityofKentucky As theyearswentby,seriousdeteriorationofcellulose Unfortunately, withthepassageofnottoomanyyears, Typical wasa1936studyofthecomparativeagingsta- Beginning around1950,whenhighlyflammablecellu- With furtherimprovementsinthedyestabilityofEast- surements. Whenheatedfor72hoursat100 etate filmisfurnishedbyresultsofviscositymea- maximum purityforpermanentrecords. oven-aging, isgreaterthanthatofpapers that chemicalstabilityofthefilm,withrespectto acetate filmfromtheseresults,thedatashow hours and95percentin30daysofaging. nitrate film,thedecreasewas35percentin72 and after30daysofagingonly9percent.With the specificviscositydecreasedabout2percent, The bestevidenceofthehighstabilityac- While itisnotpossibletopredictthelifeof 32 31 ° C , Institute’s researchwere: other researchersinthisarea. articles alsoincluderelevantreferencestotheworkof temperature andhumidityonratesofdeterioration.The acetate andcellulosenitratefilmbase,theinfluenceof groundbreaking researchonthepermanenceofcellulose discuss thefindingsofImagePermanenceInstitute’s ous institutionsaroundthecountry, May 1992issueofthe ers attheImagePermanenceInstitutepublishedin ticles byPeterZ.Adelstein,JamesM.Reilly,andco-work- tions; particularlyvaluableisthetwo-partseriesofar- and otherpublicationsonthesubjectbytheseorganiza- the ImagePermanenceInstituteinRochester,NewYork. Polytechnic inEngland;EastmanKodak;Agfa-Gevaert;and Michele EdgeandNormanAllenworkingatManchester tions, promptedaflurryofstudiesandtechnicalpapersby those entrustedwithmicrofilmandmotionpicturecollec- etate filmwasn’tpermanentafterall. than previouslybelieved.Inshort,moderncellulosetriac- cellulose acetatefilmbasecouldhaveafarshorterlife that is,undercommonlyencounteredstorageconditions, firmed theworstfearsofmanyinarchivecommunity: .Averysignificantincreaseinfilmlifeispossiblewhen 5. Thesuperiorchemicalstabilityofpolyesterbasefilms 4. Filmarchivistsshouldgivehighestpriorityforduplica- 3. .Thetemperaturecoefficient ofimprovedchemicalsta- 6. .Thestabilityofcellulosenitratebasefilm 2. .Thechemicalstabilityofdifferentcelluloseesterbase 1. The readerisreferredtothemanyresearchreports This realization,whichcausedalarmanddismayamong Among theconclusionsofImagePermanence the storagehumidityisloweredbelow50% supports theconclusionsofearlierstudies. mability) isaconcern. given tocellulosenitratefilmswhensafety(i.e.,flam- base. However,itisrecognizedthatpriorityshouldbe be basedsolelyonthechemicalcompositionoffilm radation, regardlessofbasetype.Decisionsshouldnot tion tothefilmthatshowssomeincipientsignsofdeg- other celluloseesterbasefilms. film instoragewillnotnecessarilydegradefasterthan However, ithasbeenestablishedthatcellulosenitrate is characteristicofmostnitratefilmsnowinstorage. films. Moreworkisrequiredtoestablishwhetherthis same orderofmagnitudeascellulosetriacetatebase study isthebasisforrecent than morerecentfilmsisnotsupportedbythisstudy. ment thattheobsoletediacetatefilmsarelessstable their chemicaldifferences.Theoften-repeatedstate- of 20to30% esters have dence tosuggestthatdiacetate,triacetate,ormixed riod, havepoorerstability.However,thereisnoevi- turer, orwhichweremadeduringacertaintimepe- ported caseswherefilmsfromaparticularmanufac- films isgenerallyquitesimilar.Therehavebeenre- valuable andunique photographicfilms. considered inordertoprolong thechemicalstabilityof properties. Theuseofcold-storage facilitiesshouldbe for allcelluloseesterfilms and forallthebasicfilm bility withdecreasedstorage temperatureissimilar RH inherently whereextendedlifeoffilms isdesired. SMPTE 36 differentstabilitiesbecauseof
Journal ANSI 33 andthisreportcon- . 34,35 recommendation Thearticles can be RH . This ofthe 320
This document originated at on June 6, 2003 under file name: 321
February 1989 h emnneadCr fClrPoorpsChapter9 The PermanenceandCareofColorPhotographs increase thelifeoffilm3to4times.Filmstoredat80% ture, loweringtherelativehumidityfrom50%to20%will cal celluloseester-basefilmsstoredatagiventempera- midity (seeChapter16). buildings atmoderatecosttoachieveyear-roundlowhu- possible toinstalldry-desiccantdehumidifiersinexisting struct (orrent)coldstoragefacilities.Itwillgenerallybe ate forfilmcollectionsthatarefinanciallyunabletocon- storage. Humiditycontrolaloneisperhapsmoreappropri- ported thatstoring acetate-basefilmsin sealed orsemi- Ram andhisco-workersat EastmanKodak,itwasre- of BothDyeFadingand Film-BaseDeterioration in Standard FilmCans WillIncreasetheRates Storage ofAcetate-Base MotionPictureFilms etate andcellulosenitratefilmindefinitely humidity-controlled coldstorage.Preservingcelluloseac- low humidityshouldnotbethoughtofasasubstitutefor ommended 20–30%levelisverybeneficialinandofitself, RH ture to0 of afilmapproximately32times.Loweringthetempera- more than200timesoverstorageat80 ture from80 age canbemuchgreater.Loweringthestoragetempera- at 50% .Thebeneficialeffectsoflow-temperatureandlow-hu- 7. 80, 90and100 ovens. Incubationsweremadeattemperaturesof50,70, in vapor-proofpackagesandplacedacceleratedaging 80% RHinahumidity-controlledroompriortobeingsealed specimens weremoisture-conditionedto20,50,60,and tute ofTechnologyinRochester,NewYork.Groupsfilm by theImagePermanenceInstituteatRochesterInsti- Some ofthemanyhundredsfilm-basespecimenstested Adelstein, Reilly,andco-workersshowedthatfortypi- In averyimportantdisclosure inlate1992byA.Tulsi While reducingthestoragerelativehumiditytorec- willhaveonlyaboutone-quarterofthelifefilmstored optimum storageconditionforcelluloseesterbasefilms. temperature andlowrelativehumidityrepresentsthe midity storageareadditive.Thecombinationoflow RH ° F (–18 . Thebenefitofferedbylow-temperaturestor- ° F (26.7 ° ° C C. ) ispredictedtoincreasethelifeofafilm ° C ) to30 ° F (–1.1 ° C ) willincreasethelife ° F (26.7 requires ° C )! cold with asodiumaluminumsilicate “molecularsieve” his co-workersrecommendpackaging filmsintapedcans an amountofthe sodiumaluminumsilicate molecularsieve could potentiallyaffectdyeand film-basestability.Placing absorb moisture,aceticacid vapors,andothergasesthat dures specifiedin tests withfree-hangingspecimensusingthetestproce- rapidly —thanispredictedbyaccelerateddarkstorage ers canfademorerapidly—insomecases,much or plasticfilmcansothersealedsemi-sealedcontain- in colormotionpicturefilmspackagedstandardmetal cording toRamandhisco-workers,isthattheimagedyes in manyfilmsbeingparticularlyaffected.Theresult,ac- chromogenic dyes,withthepH-sensitiveyellowdyesused and thatthisinturnincreasesthefadingratesofmany etate filmbasewhich,overtime,lowersthepHofemulsion acetic acidvaporsfromslowlydeterioratingcelluloseac- tion by-productscouldalsoincreaseratesofdyefading. at Kodakwerethefirsttoshowthatfilm-basedeteriora- process. ButtheinvestigationsbyRamandhisco-workers tribute toanautocatalyticacetatefilm-basedeterioration acid vaporsandotherdeteriorationby-productswhichcon- can acceleratethedegradationprocessbyretainingacetic lose nitratefilmsinfilmcansorotherclosedcontainers pointing tothefactthatsealingcelluloseacetateandcellu- particularly harmful. storage ofmotionpicturefilmsinhumidenvironmentswas surrounded bycirculatingair. deterioration comparedwithfilmsstoredintheopenand cantly increasetheratesofbothdyefadingandfilm-base or plasticfilmcans(orvapor-proofbags)couldsignifi- sealed containerssuchasstandardtapedoruntapedmetal specimens duringthecourseofIPIfilm-basestudy. ments weremadeofthephysicalpropertiestest ated testswithcolormaterials.Morethan15,000measure- ture andhumiditycontrols,canalsobeusedforacceler- base specimens.Theovens,whichhaveprecisetempera- nius multi-temperatureacceleratedagingtestswithfilm- tute, checkingoneoftheovensusedtoconductArrhe- James M.Reilly,directoroftheImagePermanenceInsti- To avoidthisproblemwithacetate-base films,Ramand The principalmechanisminvolvedistheevolutionof There havebeenanumberofreportsinrecentyears ANSI
IT9.9-1990 37 Itwasdemonstratedthat (seeChapter2). 38 to
May 1991
This document originated at on June 6, 2003 under file name: this casewith quality, vapor-permeablecardboardboxes Yukon PermafrostPreservedfor50Years Nitrate FilmBuriedandAbandonedin Chapter9 at 35 every 10to15yearsifthestorageconditionismaintained 3 yearswhenthefilmisstoredatroomtemperature,and sheet ofpolyethylene),shouldbereplacedaboutevery2to the outsideoffilmroll(whichhasbeenwrappedwitha tained inatubularTyvekpackagethatiswrappedaround was recommended.Themolecularsieve,whichiscon- equal toabout2-percentoftheweightfilmincan The PermanentPreservationofColorMotionPictures stored inventedfilmcans. from theairstreamthatovertimecouldcontaminatefilms provided toremovedust,lint,andotherparticulatematter film-base deterioration.Inaddition,airfiltersshouldbe acid vaporsandotherpotentiallyharmfulby-productsof with activatedcharcoalfiltrationsystemstoremoveacetic cans orpermeablecardboardboxesshouldbeequipped that arestoredundernon-refrigeratedconditions. ing nitratefilmsandTechnicolornitrate-baseIBprints) other typesofB&Wandcolormotionpicturefilms(includ- separation films(YCM’s),soundnegatives,microfilms,and lecular sievemethodtogreatlyextendthelifeofB&W the storagetemperatureanappropriateamount. described inthemoviebusinesspublication most partstillinfairlygoodcondition.Thediscoverywas and dugoutofthepermafrostin1978,theywerefor west partofCanadain1929.Whenthefilmswerefound ground ofDawsonCityintheYukonTerritorynorth- cellulose nitratemotionpictureswereburiedinthefrozen by storingfilmsin“vented”plasticfilmcans film canscanbeachievedatlowercostandwithlesslabor will beobtainedwiththeuseofmolecularsievesinsealed the increaseinlifeofcolormotionpicturefilmsthat various typesoffilms—itisbelievedbythisauthorthat labor requirements,andthelong-termphysicaleffectson molecular sievefilm-storagemethod—includingthecosts, RH), thecansshouldbetapedduringstorage. the storageareaisnotmaintainedatalowlevel(e.g.,30% In adramaticexampleofthebenefitscoldstorage(in Film vaultsusedtostorefilmpackagedinvented This authordoes,however,highlyrecommendthemo- Pending theoutcomeoffurtherstudiesproposed ° F (1.7 new recreation center. men foundthemwhilebreaking groundfora town haddecidedtogetridof. used asfillforanopen-airswimming poolthe local CarnegieLibrary.Then, in1929,theywere film wereleftbehindinthe basementofthe rush thatstartedin1896. found theirwaytotheYukonduringgold never mentionedinfilmhistories. some filmsbyfamouspeopleand news filmsdatingfrom1903to1929.Itincluded They remainedthereuntil1978 whenwork- When thegoldfeversubsided,reelsof All on35mmnitratestock,thesemovieshad The cacheincludedone-reelers,serials,and ° C) and20–30%RH.Iftherelativehumidityof no humiditycontrolwhatsoever),over500 41 40 Variety ) andlowering 39 (orinhigh- in1988: high.” although thecostofmakingblack-and-whiteseparations is mate forlong-timepreservationofcolorphotographicrecords midity-controlled coldstorage(i.e.,0 netic masters,soundnegatives,andreleaseprintsinhu- color negative(orreversalfilm),intermediates,mag- proach tolong-termpreservationisstoretheoriginal future reconstructionsofthecolorimage.Theotherap- color negativeandtothenrelyontheseseparationsfor is tomakeblack-and-whitesilverseparations( term preservationofcolormotionpicturefilms.Onemethod of theArchives’motionpicturecollection. the films,manyofwhichexistnowhereelse,arenowpart vised bySamKulaoftheNationalArchivesCanada,and time. Graham,Adelstein,andWest,writinginthe preserve colormotionpictureimagesforlongperiods of recommended asthebestway—orevenonly to of ne expensive black-and-whiteseparationsiscompletelyun- Storage versusBlack-and-WhiteSeparations Low-Temperature, Humidity-Controlled the EarlyDaysofColorMotionPictures Separations HaveBeenRecommendedSince YCM nal filmlookedwhenitwasmade. — orvideotransferstocloselymatchthewayorigi- print, therewillprobablybenowaytotimenewprintings new printproduction.Withoutawell-preservedoriginal timing (adjustmentofoveralldensityandcolorbalance) served printcanbeusedasavisualguidefortheproper faded originalcolornegativesorintermediates. making anewcompositeprintfromseparationsor laboratory costsforcolorcorrectingafadedprint,or a singletop-qualityprintisrequired.Therewillbeno tronic theatricalreleaseandotherapplicationswhereonly sion andvideodiscproduction,orforfutureformsofelec- accessed fortransfertovideotapetelevisiontransmis- ture approachtofilmpreservation.Aprintcanbereadily tion isoneofthemostvaluableaspectslow-tempera- tioned roomstorage. longer thansilverseparationskeptinnormalair-condi- that colororiginalsstoredatlowtemperatureswilllastfar experience withblack-and-whitefilms—showconclusively laboratory from originalKodachromeand Anscocolor mo- the Technicolordye-imbibition process(seeChapter10). used topreparegelatin-relief matrixfilmsforprintingby direct separationsofmoving scenes. Theseparationswere camera usedthreerollsof black-and-white filmtomake of the3-stripTechnicolorcamera in1934;thiscomplex motion pictureindustryhaditsstartwiththeintroduction
c the Atpresentthereareonlytwoapproachestothelong- The recoveryandrestorationofthefilmswassuper- The makingofblack-and-whiteseparationshaslongbeen When low-temperaturestorageisused,themakingof In theeventoffuturetheatricalfilmrelease,apre- The availabilityofcolorreleaseprintsinperfectcondi- Later, separationnegatives werepreparedinthe essary; infact,acceleratedagingdata—andyearsof ’s orProtectionMasters)fromtheoriginalcamera
42 SMPTE Thewidespreaduseofcolorseparationsinthe in1970,saidthat“Thismethodistheulti- ° F [–18 ° C ] at30% also called Journal RH ). 322
This document originated at on June 6, 2003 under file name: 323 h emnneadCr fClrPoorpsChapter 9 recent restorationsof original cellulosenitratecameraseparationnegativesin scene-by-scene orevenframe-by-framebasis(theuseof cial equipmentisusedtoregistertheseparationsona older filmsgenerallyprintoutofregistrationunlessspe- of dimensionalinstability,separationsmadeusingthese dustry weremadeoncellulosenitratesupports.Because film stockssuppliedtotheprofessionalmotionpicturein- color process.Unfortunately,priorto1950,virtuallyallthe tion picturefilmsasastepinmakingprintsbytheTechni- The PermanenceandCareofColorPhotographs ture preservation. incentive toworryaboutthe generalstateofmotionpic- had beenpreserved,formost studiostherehasbeenlittle Since itwasbelievedthatin mostcasesthemajorfilms temperature, humidity-controlled filmstoragefacilities. ervation hasbeentodiscourage theconstructionoflow- of themajorfilmstudiosonseparations forlong-termpres- supplied byKodakasastockitem. stability, hasbeenavailablesincearound1990andisnow because ofitsmuchbetterpermanenceanddimensional ration FilmSO-202;thisfilm,whichisfarsuperiorto5235 version of5235isavailableasEastmanPanchromaticSepa- factured withacellulosetriacetatebase.Apolyester-base try formakingseparations(YCM’s),hasalwaysbeenmanu- been usedformanyyearsbytheentertainmentfilmindus- leases intheUnitedStatesandEurope. rarely beenmadeforfilmsotherthanmajortheatricalre- expense involvedinmakingseparations,theyhaveonly ratory printingoperations.However,becauseofthegreat nal negativeshoulditbephysicallydamagedduringlabo- degree, andtoprovideanimmediatebackupfortheorigi- the originalcolornegativehadfadedtoanunacceptable color negativecouldbepreparedformakingprintswhen was donebothtohaveassurancethatanew,duplicate positives (YCM’s)formajortheatricalproductions;this in the1960’s,itwascommonpracticetomakeseparation print processinthemid-1970’s. by thefirminfavorofchromogenicEastmancolor imbibition releaseprintsuntiltheprocesswasphasedout Eastman ColorNegativefilmsasastepinmakingdye erly arecalledseparationnegativesor“RGB”separations. such cases,theseparationshavenegativeimagesandprop- sometimes madefromfully-timedcolorinterpositives;in however, areprintedwithonlyonelight.Separations printing (afteratrialanswerprinthasbeenmade).Some, original colornegative.YCM’sareusuallytimedduring magenta dyelayer.YCM’sgenerallyareprintedfromthe record ofthecyandyelayer,andthirdisa the yellowdyelayerofcolornegative,secondis in referencetothefactthatoneseparationisarecordof the onlywayduplicatecolornegativescouldbemade. intermediate filmswereavailablefromKodak,sothiswas printing onEastmanColorPrintFilm;initially,nocolor used forthepreparationofduplicatenegativesvolume man ColorNegativeFilmin1950,separationpositiveswere nicolor dye-imbibitionmoviesisdiscussedinChapter10). One oftheunfortunateresultscontinuedreliance Eastman PanchromaticSeparationFilm5235,whichhas After EastmanColorNegativeFilmcameintowideuse The TechnicolorCorporationmadeseparationsfrom Separation positiveshavecometobeknownas When EastmanKodakintroducedchromogenicEast- Gone
With
the
Wind andotherTech- YCM 43 ’s picture industry,the place inJuly1975.Otherthanthetheatricalmotion joint Russian-AmericanApollo-Soyuzmissionwhichtook Alan ShepardonMay5,1961,andcontinuingthroughthe flights startingwiththefirstsuborbitalflightbyastronaut of colortransparencyfilmsmadeduringmannedspace separation negativesfortheoff-sitebackuppreservation of thebulk1961–1975footagebyend1979. picture footage.Black-and-whiteseparationshadbeenmade of 5-inchfilm.Thesefilmsincludedbothstillandmotion of 35mmfilm,15,000feet70mmandabout5,000 consisted ofabout20,000feet16mmfilm,3,000 ministration ( the moon— space flightsandthehistoric1969landingonsurfaceof did notincludea0 inadequate conditions.(Regrettably,theNationalArchives Archives, theywouldhaveendedupbeingstoredunder space flightoriginalswerehandedovertotheNational did nothaveacoldstoragefacilityforcolorfilms,andifthe separation projectwasplanned,theU.S.NationalArchives storage duringfutureyears.Forexample,atthetime tainty thattheoriginalfilmswouldalwaysbekeptincold tion givenbyEastmanKodakCompanyatthattime. dealing withthissubject,anditwasalsotherecommenda- ing wastheusualrecommendationgiveninliterature reasons werethatmakingseparationsforlong-termkeep- for backuppreservationpurposes. the onlylarge-scaleattemptinU.S.touseseparations pen totheoriginalcolortransparencies. from the1961–1975filmsasbackupsshouldanythinghap- extraordinary historicalvalue,andseparationsweremade Negative ProjectforSpaceflightColorFilms The Now-DiscontinuedNASASeparation at lowtemperatureswasmadeforseveralreasons. separations insteadoforiginallystoringthecolororiginals Sciences Division,thedecisiontomakeblack-and-white are nolongeravailable. structions inthedistantfuturewhencurrentfilmstocks tions willbeusableforhigh-qualitycolorimagerecon- become ifonewantstohaveanassurancethatthesepara- trate justhowinvolvedandexpensivesuchprocedurescan encourage themakingofseparations.Rather,itistoillus- about 55 the originalfilmsinmoderate-temperaturecoldstorageat in 1982whichismaintainedat0 permanently preservethefilms,anewvaultwascompleted that muchlowerstoragetemperatureswerenecessaryto the originalspaceflights.However,uponrealization preservation of theimages.NASAalsotransferred video- ally wefeltshouldmake separations”toassurethe manned spaceflightphotographs, Lamarsaidthat“mor- in December1993.) ing inCollegePark,Maryland whichisscheduledtoopen According toNoelLamar,formerlywith In 1976,theU.S.NationalAeronauticsandSpaceAd- NASA An additionalconsiderationwasthattherenocer- The By 1980,the Because oftheextremehistorical importanceofthe NASA ° considerstheoriginalspaceflightfilmstohave F (12.8 NASA separationprogramisdescribedhere NASA NASA ° C ) and50% ° referstosuchfilmsas“flightfilms”— F [–18 ) institutedamajorprojecttoproduce collectionofcolorfilmstakenduring NASA ° C] storagevaultinitsnewbuild- separationprojectisprobably RH duringtheyearsfollowing ° F (–18 ° C ) and20% NASA NASA hadkept ’s Image 44 RH not Two . to
This document originated at on June 6, 2003 under file name: h emnn rsraino oo oinPcue Chapter9 The PermanentPreservationofColorMotionPictures Center, Houston,Texas,1975.) Administration, LyndonB.JohnsonSpace Division, NationalAeronauticsandSpace by LincolnPerry,PhotographicTechnology Spacecraft OriginalFilm (From: istics offuturefilmstocksareunknown. tives becausethesensitometriccharacter- not beenpreparedfromtheseparationnega- for testsamples,separationpositiveshave images ofvaluablecolororiginals.Except rations wererecommendedtoprotectthe irreplaceable originalsatatimewhensepa- were producedasanoff-sitebackupforthe NASA hasmadewilleverbeneeded.They that thepolyester-baseseparationnegatives films arestoredat0 tive program.Becausetheoriginalcolor NASA’s now-discontinuedseparationnega- made fromspaceflightreversaloriginalsin and-white separationnegativesthatwere reconstructing colorimagesfromtheblack- Figure 9.1 the separationnegatives werecorrectandthat thefilmswereproperlyprocessed andwashed. spaceflight originals.NASAemployed anelaborateseriesofqualitycontrolcheckstoensure thatthedensityandgammaof Figure 9.2 Black-and-White Separationsof NASA’s tentativeprocedurefor The flowchartusedbyNASA forpreparationofblack-and-whiteseparationnegativesfrom colorreversal ° F (–18 , TechnicalReport, ° C), itisunlikely 324
This document originated at on June 6, 2003 under file name: 325 and separationswerethenmadefromthesefilms. tapes generatedduringtheApollomissionstocolorfilm, negative instead oftheseparationpositive whichresults made fromreversaloriginals, thusproducingaseparation tives. adjusted separationpositivesfromthenega- the colororiginalsandthen,atalaterdate,makinggamma- dure whichconsistsofmakingseparationnegativesfrom h emnneadCr fClrPoorpsChapter 9 The PermanenceandCareofColorPhotographs picture industry.Whilemost of costly —thanthemethods used bythetheatricalmotion outlined in reconstruction processwillbe.Thegeneralis what gammaandreproductioncharacteristicsofafuture fully checked—theprocedures areoutlinedin quality, residualchemicals, andregistrationwerecare- program forthemakingofseparationsinwhichprocess still-camera film. emulsion issimilartothatusedinKodakPanatomic-X of thesamewidthasoriginals;separationfilm tions insteadofmakingduplicatesfromthecolororiginals. be areasontoreconstructthecolorimagesfromsepara- need notbedoneuntilsomefuturetimewhentheremay ration negatives—wascompleted.Theremainingsteps most films,onlythefirststageofprocess—sepa- was testedwithanumberoftestexamples;however,for The NASA The separationsweremadeonpolyester-baserollfilms evaluated andthreenew0 films revealedthatthecolorimageswereslowlyfadingin55 densitometric measurementsofstepwedgesintheheadersspecially-coatedpolyester-baseEktachrome Until 1982,originalspaceflightfilmswerestoredat NASA 45 Thisprocedureavoidstheproblemofnotknowing developedacomplextwo-stageseparationproce- proceduresweremoreexacting —andfarmore Figure 9.1 NASA . Theentirereproductionprocedure usedanelaboratequalitycontrol ° F (–18 NASA ° C ), 20% ’s separationswere RH vaultswereconstructedtohaltfurtherfadingofthesepricelessrecords. Figure 9.2 NASA . inaroommaintainedat55 to currentcolorfilmstocks: lete Technicolor3-stripcameras maybeincorrectlymatched age werenotafactor—separationsmadewiththeobso- image quality.Asanexample—evenifdifferentialshrink- ing negativesorseparationswithoutsignificantlosses in tics, itmaybeadifficultandcostlyprocesstoprintexist- with newmaterialsofdifferentsensitometriccharacteris- Black-and-White Separations(YCM’s) Potential Long-TermProblemswith known sensitometriccharacteristicsremain. black-and-white separationswithfuturecolorfilmsofun- difficulties ofreconstructingaccuratecolorimagesfrom when aseparationismadefromcolornegative,thebasic off-site backupsetsofduplicatesalsokeptat0 separation negativeprojectwasdiscontinued.Withtwo and-white separationswasnolongernecessary,andthe storage vault1982,NASAconcludedthatmakingblack- manent preservationoforiginalspaceflightcolorfilms. NASA nowreliesonlow-temperaturestoragefortheper- ° F As currentfilmstocksbecomeobsoleteandarereplaced After thecompletionofa0 environment,theentirepreservationprogramwasre- from thefactthat separationelementsfor such volves anumberofuniqueproblems stemming means oftheTechnicolorthree-strip processin- Making newprintsofafilm photographed by ° F (12.8 ° F (–18 ° C ) and50% ° C) and20%RHcold RH EF . When and ° F (–18 MS ° C),
November 1979
This document originated at on June 6, 2003 under file name: h emnn rsraino oo oinPcue Chapter9 The PermanentPreservationofColorMotionPictures in asecond0 originals. Aspartofthemostsophisticated colorfilmpreservationeffortintheworld,acomplete setofduplicatesisstor members FrankZehentner(left) andTerrySlezakpreparingtoremoveanaluminumcasecontaining uncutrollsofcolorfilm permanently preservedat0 on July16–24,1969,together withoriginalcolorstillphotographsandmotionpicturesfrom otherspacemissions,are The originalEktachrome ° F (20% RH EF ) facilityinHouston, andathirdsetiskeptin a 0 and ° F (–18 MS ° filmsusedbytheastronautsfor photographyonthehistoricApollomissiontomoon C ) and20% RH at NASA headquartersinHouston,Texas. ShownhereareNASAstaff ° F (20% RH ) vaultatWhite Sands, NewMexico.
October 1987 ed 326
This document originated at on June 6, 2003 under file name: 327 h emnneadCr fClrPoorpsChapter9 The PermanenceandCareofColorPhotographs flight filmsneed neverleavethehigh-security facility. the buildingwherevaultis located,sotheoriginalspace- NASA operatesasophisticated colorprocessinglaboratoryin this isadeadstoragevaultand isenteredonlyinfrequently. masters weremadefromuncut rollsshortlyafterprocessing), printing (colorinternegativesand duplicatetransparencyprinting cause theoriginalspaceflightfilms areneverusedforroutine life-threatening carbondioxide fireextinguishingsystem.Be- Signs ontheNASAstoragevaultdoorwarnofpotentially “Here menfromtheplanetEarthfirstsetfootuponMoon,July1969,A.D.Wecameinpeaceforallmankind.” preserve thesefilmsinessentiallyunchangedconditionforever.Aplaqueleftonthemoonbyastronautsisengraved: ever approachthevalueoforiginalsashistoricobjects.Nowstoredat0 were actuallyonthesurfaceofmoon,noduplicatesorhigh-resolutiondigitizedcopies—matterhowperfectcan astronauts NeilA.ArmstrongandEdwinE.Aldrin,Jr.aftertheylandedonthemoonJuly20,1969.Becausethesefilms cases forstorageintheHoustonvault.Includedareoriginal70mmEktachromecolortransparenciesphotographedby Cans ofcatalogedrollscolorspaceflightfilmsfromtheApollomissionstomoonwereplacedinwaterproofaluminum to alertNASAstaff ifpresetlimitsareexceeded. the vaultareconstantlymonitored; alarmswillsound Temperature andrelativehumidity conditionsinside ° F (–18 ° C) and20%RH,NASAintendsto
October 1987 (3)
This document originated at on June 6, 2003 under file name: 9,000feetof35mmfilminnine1,000-footcans; * Chapter9 EstimatedCostofColdStorage Table 9.6 The PermanentPreservationofColorMotionPictures film issupplied byKodakasastockitem and isfarsupe- as EastmanPanchromatic Separation FilmSO-202;this base. AnEstarpolyester-base versionof5235isavailable Film 5235,issuppliedbyKodak onacellulosetriacetate motion picturework,Eastman PanchromaticSeparation should benotedthattheseparation filmnormallyusedfor triacetate filmbasedegradation earlierinthischapter,it impossible tocorrect. years; suchirregularitieswouldlikelybedifficultoreven reproduction whentheseparationsareprintedinfuture a resultoffadingorstainingwillinunevencolor age. Evenslightsilverimageirregularitieswhichoccuras registration) andfadingordiscolorationofthesilverim- (which wouldcausetheimagestobeprintedslightlyout of ferential shrinkageofthecellulosetriacetatefilmbase $30.00 rentalpercubicfootyear(7.4canscu.ft.) on eaie—9cn $36.00 $36.00 $36.00 Release oranswerprint(5384)—9cans $36.00 Sound negative—9cans Magnetic master—9cans Color internegative(5243or5244) $36.00 Color interpositive(5243or5244)—9cans $36.00 Conformed originalcolornegative—9cans Further, inlightofthediscussionconcerningcellulose Other potentialproblemsofsilverseparationsaredif- or CRI(5249)—9cans (if AandBrolls:18cans@$72.00) may ornotbeconsideredlessdesirable. other compromisesintheimagequalitywhich alleviate thecontrastproblem,butitwillinvolve the processbeforemakingcolornegativemay rations andadjustingthegammadensityin tion printofthesamesubject.Dupingsepa- pare unfavorablywithawell-preservedimbibi- negative willyieldcontrastyprintswhichcom- too highthenetresultwillbethatnewcolor color stocks.Ifthecontrastofaseparationis ate forprintingdirectlyontocurrentEastman or densityoftheseparationsmaybeinappropri- production. Thenetresultisthatthecontrast also quiteoftenweremodifiedforthespecific the requirementsofTechnicolorsystem,but a Technicolorpictureweretailorednotonlyto Film (0 Rental PerYearforMotionPicture ° F [–18 oa e er $216.00 Total PerYear: ° C] and30%RH)* 46 lywood andNewYorkatthe time thisbookwenttopress. these servicesbymajormotionpicturelaboratoriesinHol- September 1992andweretypicalofthepriceschargedfor based onpricesquotedbyTechnicolor,Inc.(Hollywood) in color internegative,answerprint,andothercostswere 9.9 the costsofcoldstoragearegivenin (“YCM’s” or“ProtectionMasters”)andacomparisonwith materials tobeplacedincoldstorage( of production,thereislittleadditionalexpenditureforthe tional releaseprint,arenormallymadeduringthecourse Table 9.6 foot theatricalmotionpictureforabout$216peryear(see sible tostorealltheimportantelementsofatypical9,000- picture colornegativeand printfilmsstoredat75 detectable dyelossof10%for manycurrentKodakmotion ter, estimatesbasedonpublished Kodakdataforavisually Costsoforiginalcameranegative,colorintermediates, * Cost ofFilmElementstoBePut Table 9.7 (24 Cold StorageforLong-TermPreservation Costs of permanence anddimensionalstability. rior to5235forseparationsbecauseofitsmuchbetter storage spaceinacommercialfacility, for a10%dye loss aregivenforthesame filmsstoredat year percubicfootofhumidity-controlled0 ervation purposes.Usingabaserentalfigureof$30per justification forthecontinueduseofseparationspres- temperature coldstorage,therewouldappeartobelittle tions withtherelativelylowcostsofkeepingfilmsinlow- as anormalexpenseoffilmproduction. magnetic master,andsoundnegativealreadycovered In . Black-and-whiteseparationinterpositivecosts,new The costsofproducingB&Wseparationinterpositives )Rlaepit(34 02/t $1,980 none* Releaseprint(5384)@$0.22/ft. none* 3) Colorinterpositiveand 2) Originalcolornegative 1) Whenonecomparesthehighcostofmakingsepara- ° C ) aregiven.In Table 9.2 of initialprintorder) (new, non-projectedprint;part and color“duplicatenegative”) (also calledcolor“masterpositive” internegative (5243or5244) (A rollsorAandBrolls) ). Asalltheelementsofafilm,exceptanaddi- B&W Feature Film) in ColdStorage(9,000-Foot35mm , whichwasdiscussedearlier inthischap- Separationsversus Table 9.5 , correspondingestimates Table 9.8 Table 9.7 Total: $1,980 47 itwouldbepos- ° F (–18 and ). ° C Table ) cold ° F 328
This document originated at on June 6, 2003 under file name: 329 h emnneadCr fClrPoorpsChapter 9 Cost ofMotionPictureFilm Table 9.8 The PermanenceandCareofColorPhotographs Note: prints fromtheseparationsandsoundnegatives. for thecostofmakingseparations,andreconstructingnew years variousoriginalcolorfilmelementscouldbestored edited digitalfile onacolorphotographicintermediate film image compositing—with the capabilityofwriting nation ofscratches),restoration ofdamagedframes,and digital preservationsystemis certaintoincrease. digital intermediatesystems, theinterestinsuchafully Digital FilmSystemin1993, andother“film-resolution” and atlowcost. videotape andlaserdisccopiesofthefilmsondemand— be abletoproduceperfect“film-resolution”transfersor each andeveryfilmstoredinhugecollectionswould a system,ithasbeenhoped,wouldgivequickaccess to room-temperature andhumidityconditionsforever.Such nent digitalmediumthatcouldbestoredunderordinary sort ofextremelyhigh-resolutionandessentiallyperma- to allowtransferofcolormotionpictureimagesontosome day a“perfect”filmpreservationsystemwouldbedevised 55 Substitutes forPreservationofFilmOriginals Image StorageSystemsAreNotSatisfactory Optical Disk,MagneticTape,andOtherDigital ° oo rn rmitreaie(34 $15,030 Color printfrominternegative(5384) $42,300 Internegative fromseparations(YCM’s) $33,390 Set ofthreeB&Wseparationinterpositives In F Although intendedforspecial effects, scenesalvage(elimi- With thecommercialintroductionofKodakCineon Many filmarchivistshavelongheldadreamthatsome- (12.8 @ $1.67/ft.(fullytimedanswerprint) (5243 or5244)@$4.70/ft. (additional costsifAandBrolloriginal) (YCM’s) (SO-202or5235)@$3.71/ft. Table 9.10 diinlpit 58)$13,680 $42,300 are neededfortheatricalrelease. required iflargenumbersofprints Second colorinternegativemaybe for timingpurposes. @ $1.52/ft.mayberequired Additional prints(5384) new printfromB&Wseparations: Additional coststoobtain ° C ), 45 (9,000-Foot FeatureFilm) B&W SeparationProcedure Elements forPreservationby ° F , estimatesaregivenforthenumberof (7.2 ° C ), and0 ° F Total Cost:$90,720 (–18 ° C ). digital data Rental ofaCineonfacilitycancostupto$1,500perhour. ware —theseservicesmustbecontractedfromKodak). (prices donotincludefilmscannerandrecorderhard- Cineon workstationscostfrom$250,000toover$1million ing digitalimagesbacktofilmisanadditional$8perframe. proposition. Scanningcostsabout$6perframeandwrit- the muchmore seriousproblemof and opticaldisksinthisrapidly changingindustry,thereis term stabilityofthevariousforms ofdigitalmagnetictapes problems remain.Asidefrom uncertaintiesaboutthelong- effective alternativetostorage offilmitself,significant for full-lengthmotionpictures eventuallybecomesacost- “film-resolution” dataforonlyabout1minuteoffilm! of digitaldata;therefore,afullD-1videocassettecanstore color filmexceeds1gigabyte(one-billionbytes). size for1second(24frames)of35mmAcademyaperture al . Comparison ofCostsfor Table 9.9 April 1992issueof “The DawningoftheDigitalAge,”whichappearedin the readerisreferredtoanarticlebyBobFisherentitled cations ofdigitaltechnologyinthemotionpictureindustry, color motionpictures.(Foranoverviewofpracticalappli- “film-resolution” digitaltapesoropticaldisksoffull-length dak Cineonsystemcouldconceivablybeusedtoproduce for seamlessintercuttingoforiginalnegatives—theKo- Does notincludecostofstorageforseparations, * magnetic master,andsoundnegative. With approximately40megabytesofnon-compressed Working withtheKodakCineonsystemisanexpensive B&W SeparationApproach: Cold StorageApproach: Even ifa“film-resolution”digital preservationsystem A “one-hour”D-1videocassetteholdsabout72Gbytes oto aignwitreaie$57,330 $33,390* separation interpositives(YCM’s) and singleanswerprintfromB&W Cost ofmakingnewinternegative separation interpositives(YCM’s) Cost ofmakingthreeB&W $1,980 for coldstorage $216 Cost ofadditionalreleaseprint of afeaturefilm $36 Annual coldstorageforallelements Annual coldstorageforreleaseprintonly per of ColorMotionPictureFilms Approaches to thePreservation StorageCold and B&W Separation
frame American (2,600linesx3,600pixels),
Cinematographer hardware and . 48 50 49 ) software thefile
This document originated at on June 6, 2003 under file name: h emnn rsraino oo oinPcue Chapter9 The PermanentPreservationofColorMotionPictures other veryvaluable footagefromcatastrophic losswhich ervation mediumforfilm-originatedproductions. color originalsandreleaseprintsastheprimarypres- near thetimewhenonecouldevenconsiderabandoning erational image-qualitylosses—theindustryisnowhere offer thehopeofalmostlimitlessre-recordingwithoutgen- the necessaryplaybackequipment in low-temperature,humidity-controlledstorage.However, cal diskscanprobablybepreservedforextendedperiods of ValuableColorMotion PictureFilms Facilities for thePermanentPreservation Humidity-Controlled Cold Storage NumberofYearsThataMotion 9.10 Table Records fortheMillenia,” Corporation: “ArchivingHumanandMachineReadable Mallinson, formerlythemanagerofresearchatAmpex referred totwosoberingarticlesonthissubjectbyJohnC. how serioussuchproblemshavebecome.Thereaderis by theCalifornia-basedAmpexCorporationtorealizejust existence sincevideorecordingwascommercializedin1956 ber ofincompatiblevideotapeformatsthathavebeenin ported infutureyearsasimprovedsystemsaredeveloped. pression software/hardwaresystemslikelywillnotbesup- current andnear-futuredigitaldatacompression-decom- long-term digitaldatapreservationpictureisthefactthat in workingorderindefinitely.Furthercomplicatingthe ing: History,Evolution,andArchivalConsiderations.” obsolescence. When itisimportanttoprotect majorproductionsand Despite theappealofdigitalrecordingsystems—which Like colorfilms,videotapes,digitaldatatapes,andopti- 2,520years 925years Printonlyincoldstoragefor f) Printonlyincoldstoragefor e) 2,100years 930years Originalnegativeincoldstorage d) 420years Originalnegativeincoldstorage c) 155years Allelementsincoldstorage b) Allelementsincoldstorage a) color internegativeandnewprint cost ofseparationsplusnew cost ofseparations color internegative for costofseparationsplusnew for costofseparations color internegativeandnewprint for costofseparationsplusnew for costofseparations 51, 52 Other FilmEl Making B&WSeparationsand Storage forCostEqualtoThatof Picture FilmCanBeKeptinCold Oneneedonlytolookatthelargenum- 53 and“MagneticTapeRecord- ements cannot bemaintained 54 55 are alsodescribedinChapter20, chives ofCanada.Theseandothercoldstoragefacilities sas City),theLibraryofCongress,andNationalAr- Turner EntertainmentCo.(attheRecordsCenterofKan- storage facilitiesatParamountPictures,WarnerBros., each ofthesenewelectronicsystemswillbecapable. in ordertoobtainthemaximumimagequalityofwhich necessary —togobackthecolorphotographicoriginal it willalwaysbedesirable—andinmanycasesabsolutely high-definition televisionsystemsevolveincomingyears, able elementfromcurrentfilmproductions.Asdigital the film’sdirector—mayprovetobeonlyreadilyus- act scene-by-scenedensityandcolorbalancecalledforby which hasintegral,synchronizedsoundtracksandtheex- tion, televisiontransmission,andtheatricalre-release. normally beusedforvideocassetteandvideodiscproduc- color filmandsoundelementsinthisfacilitythatwould be closetoproductionandlaboratoryfacilities;itisthe lost ordamaged. backup shouldafilmelementinthesecondfacilitybecome mally needtobeaccessed;itwouldserveastheultimate as ahigh-securitydeadstorageareawhichwouldnotnor- have morethan1,000).Thisremotefacilitywouldbeused may beinvolvedinamajorproduction;someclassicfilms release print(asmanyas250rollsofpre-printelements release prints,includingacopyofeachforeign-version negative and/ormagneticmaster,andtwomint-condition maintained at0 Quebec thatwillincludealargecolorfilmstoragevault new filmpreservationfacilitynearOttawainGatineau, Controlled ter positive,duplicatecolornegativeor used tostoretheoriginalconformedcolornegative,mas- ferent geographiclocations. ture, humidity-controlledcoldstoragefacilitiesattwodif- of aproductionshouldbedividedbetweenlow-tempera- handling, thevariousfilmelementsmadeduringcourse fire, theft,ordamageduringtransportationlaboratory could occurasaresultofearthquakes,equipmentfailure, Color MotionPictureStorageFacility Will OpentheWorld’sMostAdvanced In 1996,theNationalArchivesofCanada Preservaton vault keptat28 chives ofCanada,willreplaceacurrentcolorfilmstorage Data andAudioConservationDivisionoftheNationalAr- stallation, whichwillbeoperatedbytheMovingImage, tion picturesandstill-cameraphotographs. preservation oftheArchives’vastcollectioncolormo- other government agencies. films producedbytheNational FilmBoardofCanadaand other contaminantswhichcould harmmotionpicturefilm. to removeaceticacidvapors, oxidizinggases,dust,and The newvaultwillincludeasophisticated air-filtrationsystem Illustrated onthefollowingpagesarecolorfilmcold In thelongrun,aperfectlypreservedreleaseprint— The secondlow-temperaturestorageinstallationshould In 1996theNationalArchivesofCanadaplanstoopena For example,onecoldstorageinstallationshouldbe The NationalArchivesisthe designatedrepositoryfor
Cold of
Color ° F (–2.2 ° F (–18
Storage
Films, ° ° C) and28%RH(seepages337–338). C) and25%RHforthepermanent
Facilities Prints, Large-Scale,
and
for
Motion
the CRI 56 Thenewin-
, soundcut Permanent
Pictures Humidity- . 330
This document originated at on June 6, 2003 under file name: 331 in ahigh-security undergroundfacilityinPennsylvania. for itsfeaturefilmssincethe 1930’s,andthesearestored ters. Paramounthasbeenmaking setsofseparations(YCM’s) collections becauseoffires, earthquakes,orotherdisas- aware ofthepotentialforcatastrophic lossoftheirentire recent yearstheHollywood studios havebecomeacutely given filmbetweentwoormore geographiclocations.In strict policyofdividingthevariouspre-printelementsfor a tion forthenext20years. commodate Paramount’sexpectedfilmandvideoproduc- Frank Mancuso,wasdesignedwithenoughspacetoac- was builtatthebehestofformerParamountstudiohead from thestudio’stelevisionproductions.Thefacility,which tion picturefilm,aswellalargeamountofvideotape the facilitycurrentlyhousesmorethan270,000rollsofmo- depending onthefilmorvideoelementsstoredinthem, at differenttemperatureandrelativehumidityconditions video collection.Consistingofninevaults,whichoperate facility inHollywoodforpreservationofitsvastfilmand Cold StorageFacilityforColorFilmPreservation Hollywood’s FirstModernHumidity-Controlled The ParamountPicturesFilmandTapeArchive: h emnneadCr fClrPoorpsChapter9 The PermanenceandCareofColorPhotographs Like mostotherHollywoodstudios,Paramounthasa In 1990,ParamountPicturesopenedanewcoldstorage which isequippedwithmovableshelvingtoconservespace,RobertMcCracken,asupervisorinArchiveOperations. at 40 Melrose AvenueinHollywood,California.Thecolorfilmvault,oneofninevaultsthehigh-securitybuilding,ismaintained The colorfilmstoragevaultintheParamountPicturesFilmandTapeArchive,locatedonstudiolot ° F (4.4 ° C) and25%RH.Themulti-milliondollarfacilitywentintooperationin1990.Shownherethecolorfilmvault, indefinite period incaseofapoweroutage. can supplyelectricalpowerfor theentirebuildingforan building hasitsownbackup generating systemwhich filtration equipment.Thefire- andearthquake-resistant within theArchivestructureis therefrigerationandair- used inthefilmingofmanymovies. Hiddenfromview Paramount’s landmarkblue-sky backdropthathasbeen The backofthehigh-security buildingiscoveredwith covered withafacadeofrowredbricktownhouses. street, thefrontwallofFilmandTapeArchiveis Facing aHollywood-stylere-creationofNewYorkCity
October 1992 (2)
This document originated at on June 6, 2003 under file name: h emnn rsraino oo oinPcue Chapter9 The PermanentPreservationofColorMotionPictures are reassigned to incomingrollsbythecomputer system. rolls offilmareremovedforlab work,thevacatedslots mined byitsslot,rack,row,and vaultnumber.When The locationofaparticularroll canbequicklydeter- with asophisticatedcomputer-based inventorysystem. Each rolloffilmandvideotape isbar-codedandtracked Picture, BestDirector,andScreenplay,starredRobertDeNiro,Duvall,DianeKeaton,AlPacino. from FrancisFordCoppola’s1974classic, acid vaporsandothercontaminants.McCrackenisshownherepullingacancontainingrolloftheoriginalcameranegative otherwise removed,bothdyefadingandfilm-basedeteriorationcanbeaccelerated.Theairinthevaultisfilteredtoremove film cansasaresultofacetatefilm-basedecomposition(the“vinegarsyndrome”).Ifaceticacidvaporsarenotvented or special, alkaline-bufferedcardboardboxestopreventthegradualaccumulationofaceticacidvaporsthatcanoccurinregular handling difficultiesthatcanoccurwhenrollsarestacked.Paramounthasinauguratedaprogramtorepackagefilms in Specially designedshelvesholdeachrolloffilminaseparateslot,whichsimplifieslocatingspecificandavoidsthe The Godfather,PartII . Thefilm,whichwonsixAcademyAwards,includingBest ductions havebeen transferredtodigitalvideotape. 1987, allofParamount’sfeature filmsandtelevisionpro- series. Shownhereisthemain videotapevault.Since 100,000 interviewandshow tapes) andthe including Paramount Pictureshasanextensive televisionoutput, Entertainment Tonight (the showhasmorethan Star Trek
October 1992 (3) 332
This document originated at on June 6, 2003 under file name: 333 at 35 One ofthethreevaultsisforcolorfilmandmaintained storage facilityonitsBurbankstudiolotinOctober1992. Facility forColorandB&WMotionPictureFilms The SophisticatedWarnerBros.ColdStorage is keptat45 separations (YCM’s)andotherblack-and-whitefilms ing materialsandismaintainedat50 to storeless-criticalduplicatefilmelementsandcirculat- system ispotentially capableofsendingpay-per-view mov- a largenumberofmovietitles aroundtheclock,new service inBrooklyn,NewYork. Inadditiontobroadcasting rated anexperimental150-channel interactivecableTV tertainment company.Inmid-1992 TimeWarnerinaugu- extensive publishingoperations, istheworld’slargesten- Home BoxOffice(HBO),afar-flung cableTVsystem,and radation —andfromLosAngelesairpollution. acetic acidvaporsandothergasesresultingfromfilmdeg- An advancedair-filtrationsystemisprovidedtoremove h emnneadCr fClrPoorpsChapter9 The PermanenceandCareofColorPhotographs Warner Bros.openedanewhumidity-controlledcold R. Gardiner,vicepresidentofOperationsinCorporateFilmVideoServicesatWarnerBros. Corporate FilmVideoServicesatWarnerBros.The$9-millioncoldstoragefacilitywasdesignedunderthedirectionofPeter Belknap, managerofFilmVaults/Assets,andBillHartman,AssetInventoryManagementResearch in like thetwoothervaultsinbuilding,isequippedwithmovableshelvingthatpermitshigh-densityfilmloading,areJohn began movingitsfilmcollectionintothevaultsafewweekslater.Shownhereinlargerblack-and-whitevault,which vaults wereoperatingandinthefinalphaseoftestingwhenthisphotographwastakenonOctober8,1992.WarnerBros. Bros. studiolotinBurbank,California.Thecolorfilmvault,whichismaintainedat35 One ofthethreefilmstoragevaultsinnewWarnerBros.high-securitymotionpicturecoldbuildingon Warner Bros.isapartofTimeInc.which,with ° F (1.7 ° ° C) and25%RH.Asecondvaultisusedfor F (7.2 ° C) and25%RH.Thethirdvaultisused ° F (10 ° C) and45%RH. demand formovietitlesandotherprogramming. expected thattherewillbeatremendousincreaseinthe such expandedsystemsareinstalledonalargescale,itis ies toindividualsubscribers’homesuponrequest.When incoming andoutgoing shipmentscanbecarefully checked. The high-securitybuildinghas only oneentrancesothatall ° F (1.7 ° C) and25%RH,theother ,
October 1992 (2)
This document originated at on June 6, 2003 under file name: h emnn rsraino oo oinPcue Chapter9 The PermanentPreservationofColorMotionPictures electronically restricted tocertainkeypersonnel. and intrusionalarmsystem.Access tofilmvaultareasis The buildingisequippedwithan advancedfire-detection air-handling equipmentforoneofthefilmstoragevaults. Cargocaire continuousdesiccantdehumidifiersandother and otherpotentiallyharmfulsubstancesfromtheair. to removeaceticacidvapors,peroxides,formaldehyde, with aredundantactivatedcharcoalair-filtrationsystem by-products withinthefilmcans.Thebuildingisequipped vapors andotherharmfulacetatefilm-basedeterioration “vinegar syndrome”—theaccumulationofaceticacid new bar-coded“vented”plasticfilmcanstopreventthe instituted amassiveprogramtore-canallofitsfilmin Prior tomovingfilmsintothenewfacility,WarnerBros. building. Security systemsaremonitored24hours aday. of thefilmvaultsinfire- andearthquake-resistant Haylon gasfire-suppressionsystems areprovidedforeach dehumidification failures,allsystemsarefullyredundant. The refrigerationmachineryroom.Toavoidcoolingand pany, thegeneralcontractorfornewfacility. Cunningham, anengineerwithTurnerConstructionCom- nected tothebuilding’ssystems-controlcomputerisEd mated gas-analysisunit.Shownhereataterminalcon- through smallTeflontubesthatareconnectedtoanauto- Air samplesareperiodicallywithdrawnfromthevaults oxidizing gases,andotherpotentiallyharmfulsubstances. ing systemtodetectthepresenceofaceticacidvapors, The newfacilityhasasophisticatedair-qualitymonitor-
October 1992 (6) 334
This document originated at on June 6, 2003 under file name: 335 casts nationwide bysatelliteandovercable systems, Turner work) andWTBStelevision, a“superstation”thatbroad- munications nowoperatesas anindependentcompany. of theotherassetsacquired inthepurchase;MGMCom- subsequently soldtheMGM Metrocolorfilmlabandmost MGM/UA hadacquiredina previouspurchase).Turner in thelibraryweremostpre-1950WarnerBros.films,which purchased MGM/UAin1986forabout$1.5billion(included Atlanta, GeorgiabasedTurnerBroadcastingSystemInc. Co. FilmLibrarythatwasacquiredwhenTedTurner’s pre-print elementsforfilmsintheTurnerEntertainment are originalcolornegatives,interpositives,andother and 40% RH. large refrigeratedrentalfacility ismaintainedat38 mine inKansasCity,theRecordsCenterofCity’s below groundinaworked-outsectionofhugelimestone Library at theRecordsCenter ofKansasCity The TurnerEntertainmentCo.BackupFilm h emnneadCr fClrPoorpsChapter 9 The PermanenceandCareofColorPhotographs As theoperatorofCNN(theworldwide CableNewsNet- Among thematerialsstoredinundergroundvault Located inahigh-securitycomplexconstructed175feet and 40%RH,theRecordsCenterofKansasCityofferssomebeststorageconditionsavailableinarentalfacility. cans offilminstoragetheKansasCityfacility.Withfilm,videotape,andcomputertapevaultskeptat38 tornado, sabotage,civildisturbance,ornuclearattack.Whenthisphotographwastakenin1987,Turnerhadover50,000 high-security facilitiestoavoidthepossibilityofacatastrophiclosstheirentirecollectionsduefire,earthquake, a costofmorethan$1billion,andthemajorHollywoodstudiosroutinelystorebackupelementsalltheirfilmsinremote, City, locatedintheruraloutskirtsofKansasMissouri.TurnerEntertainment,whichpurchasedfilmlibrary1986 Entertainment Co.FilmLibraryarestoredinthehigh-securityundergroundfacilityoperatedbyRecordsCenterofKansas Original cameracolornegatives,interpositives, ° F (3.3 F YCM ° C) ’s, soundnegatives,andotherpre-printelementsintheTurner movies inthe was primarilyinterestedinacquiringthemorethan2,200 library, suchfilmclassicsas stores YCM’sand otherblack-and-whitefilm elements. cility inHutchinson,Kansas, whereTurnerEntertainment deep underground,non-refrigerated filmstoragerentalfa- derground VaultsandStorage, Inc.,whichalsooperatesa facilities foritsfilmlibraryin LosAngeles.) went topressin1992,Turner didnothavecoldstorage quarters inLosAngeles,California.(Atthetimethisbook Entertainment’s mainfilmlibraryatthecompany’shead- serve asahigh-security,refrigeratedbackupforTurner ture films.Thepre-printfilmelementsstoredinKansas film library.Inall,Turnernowownsmorethan3,300fea- been enlargedandnowincludestheRKOdomesticmarket television broadcasters. cassette andvideodisc,worldwidesyndicationtoother became availabletoTurnerforbroadcast,saleonvideo- The The RecordsCenterofKansas CityisadivisionofUn- The TurnerEntertainmentCo.filmlibraryhassince
Wizard
of MGM
Oz, 2001:ASpaceOdyssey, FilmLibrary.BypurchasingtheMGM Gone
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October 1987
This document originated at on June 6, 2003 under file name: h emnn rsraino oo oinPcue Chapter9 The PermanentPreservationofColorMotionPictures complex, which hasitsownsecurityforceand firedepartment. roof ofthemine.TheRecords CenterisintheHuntMidwestUnderground stone pillarsthatwereleftduring miningoperationstosupportthelimestone City facility,constructedagainst thesideofonemanymassivelime- The loadingdockandentrance tothehigh-securityRecordsCenterofKansas Side Story California. Atthetimethisphotographwastakenin1987,TurnerstoringanumberoffilmsforUnitedArtists(e.g., ated, high-securitybackupforcolorfilmskeptattheTurnerEntertainmentCo.headquartersfacilityinLosAngeles, Boxes containingcansofvariouspre-printfilmelementsstoredintheundergroundKansasCityvaultprovidearefriger- and Exodus ) underadistributionagreement;thesefilmshavesincebeenreturnedtoUnitedArtists. of theTurnerEntertainment collection. has oftenbeencalledthecrown jewel The classic1939Technicolor3-strip film separations for Safety-base duplicateblack-and-white Gone WiththeWind West .
October 1987 (3) 336
This document originated at on June 6, 2003 under file name: 337 at 0 tography preservationfacilities.Alargevaultmaintained most advancedlarge-scalemotionpictureandcolorpho- tawa inGatineau,Quebec,thatwillincludetheworld’s Archives ofCanadawillopenanewinstallation,nearOt- vation Division(RogerEaston,director)oftheNational Program attheNationalArchivesofCanada The AdvancedFilmandVideoPreservation records. Aseparatestorage areamaintainedat65.5 rials, videotapes,andcomputer tapes,disks,andotherEDP the newfacilitywillbeprovided forstorageofaudiomate- materials andtopreserveselectedpaperdocuments. pictures; thevaultwillalsobeusedforstillphotographic chives’ vastcollectionofcolorandblack-and-whitemotion quirements for temperatureandrelativehumidity. Aso- environment zones,eachof whichwillmeetspecificre- all, thenewbuildingwillhave eightseparatecontrolled- (18 h emnneadCr fClrPoorpsChapter 9 The PermanenceandCareofColorPhotographs In late1996,theMovingImage,DataandAudioConser- Other temperature-andhumidity-controlledvaultsin ° C) and50%RHwillbeused tostoreoilpaintings.In new facilitywilloperateat0 cold storageinstallationwillbecompletedinlate1996nearOttawaGatineau,Quebec;thecolorfilmvault Custody. O’Farrellwearsglovesandawintercoatforprotectionfromthecold.Anew,muchlargerhumidity-controlled prints ofCanadianfeaturefilmsandothercolormotionpictures,isWilliamO’Farrell,chiefFilmConservation at 28 The coldstoragevaultattheNationalArchivesofCanadainOttawa.facilitywasconstructed1986andismaintained ° F (–18 ° F (–2.2 ° C) and25%RHwillbeprovidedfortheAr- ° C) and28%RH.Shownhereworkinginthevault,whichisusedtopreserveArchives’collectionofrelease ° F (–18 ° C) and25%RH.Thiswillbethemostadvancedfacilityofitskindinworld. ° F disks arealsocollectedinever-increasing quantities. CD’s, aswellcomputertapes, floppydisks,andoptical Audio materials,includingphonograph records,tapes,and amount ofvideomaterialinawidevarietytapeformats. cold storagevaultwereacquiredthroughthisprogram. for safekeeping.Themajorityofthecolorfilmsnowin ingly areaskingtheArchivestostorepre-printelements lease printsnormallyaresupplied,butproducersincreas- chase programforCanadiantheatricalfeaturefilms.Re- own coldstoragefacility).TheArchivesalsohasapur- National FilmBoardofCanada(whichdoesnothaveits tion forallCanadiangovernmentagencies,includingthe nants atlowlevelsinallstorageareas. pors, oxidizinggases,dust,andotherairbornecontami- phisticated air-filtrationsystemwillkeepaceticacidva- libraries, archives, andmuseumsworldwide. and black-and-whitemotion picturepreservationinfilm that willopenin1996establish newstandardsforcolor The Archives’humidity-controlled 0 The NationalArchivescollectionincludesasizeable The NationalArchivesservesasacentralizedcollec- ° F (–18 ° C) facility
June 1989
This document originated at on June 6, 2003 under file name: h emnn rsraino oo oinPcue Chapter9 The PermanentPreservationofColorMotionPictures U.S. andCanada usesimilarCargocairedehumidifiers. the colorfilmvault.Mostof coldstoragevaultsinthe in Sollentuna,Sweden)areused tomaintain28%RHin Munters Cargocaire(asubsidiary oftheMuntersGroup Continuous dry-desiccantdehumidifiers manufacturedby Caldwell TelevisionNetwork)fortheNationalArchives’collections. around-the-clock tapingoftelevisionbroadcastsfromtheCBC(theCanadianBroadcastingCorporation)andCTV machines ofthelate-1950’stolatestdigitalD-1andD-2videotaperecorders.Satellitedownlinksareprovidedfor the labhasbecomewhatamountstoamuseumofvideotaperecorders,rangingfromAmpex2-inchquadruplex extensive videoandfilm-to-tapetransferequipment.BecauseoftherangematerialsinArchives’collections, Unlike mostfilmarchives,theNationalArchivesofCanadaoperatesavideoconservationlaboratoryequippedwith the Archiveshas startedusing“vented”plastic filmcans. films arereplacedwithcolor-coded plasticcans;recently, mini-computer terminal.The metalcansofincoming reader enteringinspectiondata intoaHewlett-Packard Senior filmconservatorDennis Waughwithabar-code
June 1989 (3) 338
This document originated at on June 6, 2003 under file name: 339 being storedat50 tions. Inaddition,117,000cans ofcellulosenitratefilmwere base filmwerebeingstored atvariousnon-refrigeratedloca- facility, whichopenedin1978. Another197,000cansofsafety- color filminstorageatits Landover, Marylandcoldstorage 1992, theLibraryhadabout136,000cansofblack-and-white and and religiousmaterial.Atthetimethisbookwenttopress in more selectiveabouttelevisionproductions,educational films, most theatricalanddocumentaryfilmsarekept,theLibrary is the Libraryforitsresearchandstudycollection.Although video productionthatisregisteredforcopyrightretained by by theNationalArchives—seedescriptiononpage719.) tions, includingDefenseDepartmentmaterials,arepreserved lection inthecountry.(U.S.governmentfilmandvideoproduc- Library nowholdsthemostcompleteentertainmentfilm col- does notmaintainitsownstoragefacilities.Asaresult, the includes manyfilmsfromtheAmericanFilmInstitute,which film productionatnocost.Inaddition,theLibrary’scollection receives areleaseprintofvirtuallyeveryU.S.entertainment for ColorandBlack-and-WhiteMotionPictures The LibraryofCongressColdStorageFacility Base inOhio(see Library’s preservationfacility atWright-PattersonAirForce h emnneadCr fClrPoorpsChapter9 The PermanenceandCareofColorPhotographs Because ofbudgetandspaceconstraints,noteveryfilm As theregistrarofU.S.copyrights,LibraryCongress color vault.Severallargervaultsforstoringblack-and-whitemotionpicturesarekeptat55 camera colorphotographs,includingthematerialsinvaluable of thecuratorialsectionMotionPicture,Broadcasting,andRecordedSoundDivisionLibraryCongress.Still- humidity-controlled vaultismaintainedat37 The LibraryofCongresscolorfilmstoragefacilitylocatedinLandover,Maryland,justoutsideWashington,D.C. Appendix 19.1 ° F (10 ° C) and30% onpage675). RH invaultsnearthe ° F (2.8 ° C ) and25%RH.ShownhereinthevaultisDavidParker,assistanthead directed byVincente MinnelliandstarredJudy Garland. 1944 MGMproduction this rarenitrate-baseTechnicolor imbibitionprintofthe Wright-Patterson AirForceBase nearDayton,Ohio,is Preserved attheLibrary’snitrate filmstoragefacilityat Look magazinecollection,arealsostoredinthe ° F Meet MeinSt.Louis (12.8 ° C ) and25% RH , whichwas .
June 1989 November 1987
This document originated at on June 6, 2003 under file name: h emnn rsraino oo oinPcue Chapter9 The PermanentPreservationofColorMotionPictures every day,budgetconstraintsprecludeprovidingcoldstorageforallofthismaterial. thousands ofrollscolormotionpicturescontinuetobestoredunderroomtemperatureconditions;withnewfilmsarriving Even today,aspicturedhereinastorageroomtheLibrary’smotionpicturedivisiononCapitolHillWashington,D.C., and AnscoColorstocksfromthe1950’sthrough1970’swerenotrefrigerated,mosthavebecomeseverelyfaded. reference collection.AlloftheLibrary’sEastmanColorprintsandfilmsmadeonsimilarlyunstableGevacolor,Fujicolor, Until around1970,theLibrarydidnotconsiderpreservationtobeaprimarygoal;rather,filmsweretreatedas transfer, filmsare placedincoldstorage. balance ofasceneastapetransfer isbeingmade.After the pictureabove,Chrismanand Parkerstudythecolor with audioandvideolabengineer PaulV.Chrisman).In with aRankCintelmachine(shown inthepictureatleft videotape referencecopy.Films aretransferredtotape title hasnotbeenreleasedon video, theLibrarymakesa tion pictureprintsintheLibrary’s collection.Ifarequested years haslessenedconsiderablythedemandtoviewmo- The availabilityofvideoreleasesmostfilmsinrecent
November 1987 (3) 340
This document originated at on June 6, 2003 under file name: 341 h emnneadCr fClrPoorpsChapter9 Note: Notes andReferences The PermanenceandCareofColorPhotographs 1 LindaGross,“AnySolutiontoFilmColorFadingAway?”, 11. MartinScorsese,coverletterforapetitionsenttoWalterFallon,chair- 10. 4 MarcBerman,“RentalsReapBulkof1991VidHarvest,” 14. 6 CharlesFleming,“StudiosWalkingtheBottomLine,” 16. GeraldPutzer,“‘Terminator2’TakesRingin$200MilYear,” 15. 13. ClaudiaEllerandJohnEvanFrook,“‘91B.O.Down,SpiritsUpat StevenSpielberg,lettertoMartinScorsese,November26,1979. 12. 9 PaulC.Spehr,“Fading,Fading, Faded—TheColorFilmCrisis,” 19. BillO’Connell,“FadeOut,” 18. FrankHodsoll,seeNoteNo.4. 17. 0 MartinScorsese,“LettertotheEditor,” 20. 2 BeginninginApril1980,thisauthorservedasavoluntarytechnical 22. Martin Scorsese, letter “To My Friends and Colleagues,”April5, 1980. 21. .BenStein, “AStudioHeadWithaHumanFace,” 1. .RichardTurner,“DisneyLeadsShiftFromRentalstoSalesinVideocas- 8. EastmanKodakCompany,excerptsfromaninterviewwithJoergD. 7. FrankThompson,“FadeOut–What'sBeingDonetoSaveOurMotion- 2. .MichaelCieplyandJohnHelyar,“TurnerPacttoSellMGMAssets 9. .RobertLenzner,“HollywoodMystique,” 6. FrankHodsoll,“FilmPreservation:ALargePieceofAmericanaIsFad- 5. JackTillmany,lettertoMartinScorsese,April23,1980. 4. StanleyYates,curator,TheAmericanArchivesoftheFactualFilm,Iowa 3. Journal School ofLibraryandInformationScience,Urbana-Champaign,Illinois. Champaign, Illinois.PublishedbytheUniversityofIllinoisGraduate November 6–9,1988attheChancellorHotelandConventionCenter, of IllinoisGraduateSchoolLibraryandInformationScience,held settes,” Release ES592149-bNR Television ImagingDivisionofEastmanKodakCompany, Agin, vicepresidentandgeneralmanageroftheMotionPicture 1981. Picture Heritage?”, presented atthe Henderson, editors),pp.105–111,1991.Thebookcontainsthepapers in NonbookFormats or Destruction?”,achapterin Photographs andColorMotionPicturesintheLibrary:ForPreservation cellulose nitratefilmswasfurtherdiscussedbythisauthorin“Color humidity-controlled coldstoragetopreservecolormotionpicturesand Los Angeles,California,October28,1981.Theuseoflow-temperature, hibit oftheSocietyMotionPictureandTelevisionEngineers Pictures,” atthe Cost-Effective ApproachtotheLong-TermPreservationofColorMotion Journal Boosts ProspectsofBroadcasterand2Buyers,” tors, actorsandactresses,producers,filmcritics,curators. public. Thepetitionwassignedbyhundredsofwell-knownfilmdirec- picture filmandthatthecompanymakeitssecretcolorstabilitydata a listofdemands,includingthatKodakmakemorestablemotion Company, June12,1980.Theletterandpetitionwereaccompaniedby man oftheboard,andColbyChandler,president,EastmanKodak ing Away,” State University,Ames,Iowa,interviewwiththisauthor,1979. tion —WhoseResponsibilityShoulditBe?”,p.2. 34–38, 46.Seealsointhesameissue:WolfSchneider,“FilmPreserva- Vol. 345,No.12,January6,1992,p.5. 345, No.12,January6,1992,p.22. Confab,” Times Film October 1979,pp.11–18. No. 12,January6,1992,p.105. Kodak intoproducing improvedfilmstocks.Seealso: “SignersofNo writer describedfilmdirectorMartin Scorsese’s campaigntopressure stability ofKodakmotionpicturecolor negativeandprintfilms;the 9, 1980,pp.1,28–29.Thiswasa majorarticleonthepoorimage Scorsese HelmsIndustryPleatoKodak,” secret colorfilmstabilitydatawould be metbythecompany. Kodak indicatedthatScorsese’sdemand thatKodakmakepublicits office anddidnotattendthegathering. Atthemeeting,KenMasonof Kodak’s threattocancelthemeeting, thisauthorwenttoScorsese’s that ifthisauthorwaspresent,Kodakwouldnotattend.Asaresultof Shortly beforethemeetingwastotakeplaceKodakinformedScorsese Mason andTonyBrunoofEastmanKodakScorsesehisstaff. on July14,1980inScorsese’sNewYorkCityapartmentwithKen with thepetitiononJune12,1980.Thisauthorwastoattendameeting formulate Scorsese’s“RequestforInformation”senttoKodakalong and hisstaffduringScorsese’scampaignagainstfadinghelped advisor onthestabilityofcolormotionpicturefilmtoMartinScorsese ruary 1980. Thischapterhaditsoriginsinapresentationbythisauthorentitled“A See: HarlanJacobson,“OldPixDon’t Die,TheyFadeAway— , Vol.V,No.2,November1979,pp.56–61. , April17,1981,PartVI,p.1. , April16,1982,p.16. The WallStreetJournal , June6,1986,p.6. Variety Daily Variety , Vol.346,No.6,February24,1992,p.5. Allerton ParkInstitute 123rd TechnicalConferenceandEquipmentEx- American Film , (KathrynLutherHendersonandWilliamT. , January14,1983,p.28. , May1992,p.4. Film Comment Conserving andPreservingMaterials , December24,1992,p.1. , Vol.XVI,No.8,August1991,pp. Film Comment The BostonGlobe , sponsoredbytheUniversity Variety , Vol.15,No.5,September– , Vol.299,No.10,July The WallStreet The WallStreet Variety , January–Feb- Kodak Press Los Angeles Variety , March1, American , Vol.345, Variety , Vol. , , 4 P.Z.Adelstein,J.M.Reilly,D.W.Nishimura,andC.Erbland,“Stabil- 34. 3 DavidG.Horvath, 33. P.Z.Adelstein,J.M.Reilly,D.W.Nishimura,andC.Erbland,“Stabil- 32. 1 JohnG.Bradley,“StabilityofMotionPictureFilm,” 31. AmericanNationalStandardsInstitute,Inc., 30. 7 FrankThompson,“Spartacus:ASpectacleRevisited,” 27. TheFilmFoundation,7thFloor,445ParkAvenue,NewYork,York 26. EastmanKodakCompany,“SimplyBeautiful.BeautifullySimple,” 25. EastmanKodakCompany,“OurDescendantsWillSeeTheirAncestors 24. EastmanKodakCompany, 23. 9 See,forexample:LeliseBennetts,“‘Colorizing’FilmClassics:ABoon 29. AmericanNationalStandardsInstitute,Inc., 28. separately fromother materials.Filmshouldbeconditioned at25to drome.” Amonghisrecommendations forstorage,Bremsincluded: degradation ofcellulosetriacetate film baseandthe“vinegarsyn- December 1988,pp.991–993.In the article,Bremsdiscussed “The ArchivalQualityofFilmBases,” May 1992,pp.347–353.Seealso:Karel A.H.Brems[Agfa-Gevaert], Practical StorageConsiderations,” Erbland, “StabilityofCelluloseEster BasePhotographicFilm:PartII– 336–346; andP.Z.Adelstein,J.M. Reilly, D.W.Nishimura,andC.J. Testing Procedures,” ity ofCelluloseEsterBasePhotographicFilm:PartI–Laboratory Library, Louisville,Kentucky40292;telephone:502-588-6752. postage) from:UniversityofLouisville,PhotographicArchives,Ekstrom the 91-pagereportmaybepurchasedfor$8(whichincludesfirstclass by theUniversityofLouisvilleandNationalMuseumAct.Copies versity ofLouisville,Kentucky,1987.Theprojectwasfunded 336–346. Testing Procedures,” ity ofCelluloseEsterBasePhotographicFilm:PartI—Laboratory ies (andSnapshots)AreLosingTheirColor,” 1980, pp.19ff.Seealso:PatriciaO’Brian[KnightNewsService],“Mov- Campaign toSaveaFilmHeritage,” 10, July9,1980,p.29.Seealso:RobertLindsey,“MartinScorsese’s Fade PetitiontoKodakSpanAllIndustryRanks,” Society ofMotionPictureEngineers (Fax: 212-398-0023). West 42ndStreet,NewYork,York10036;telephone:212-642-4900 purchased fromtheAmericanNationalStandardsInstitute,Inc.,11 Inc., NewYork,1991.CopiesoftheStandardmaybe Photographic Film–Storage can NationalStandardforImagingMedia–ProcessedSafety on colormotionpicturefilmthataresuitablefortheatricalprojection. zation processcouldalsobeusedtocreatehigh-resolutiontransfers tems andmoresophisticatedimage-processingsoftware,thecolori- pected thatinthefuture,withfilm-resolutiondigitalintermediatesys- “colorization” ispracticalonlyforvideotransfersalthoughitex- hanced computertechnology.Atthepresentstateoftechnology, million in1990to“recolorize”25alreadycolorizedfilmsusingen- Turner, upfrom27in1988.Inaddition,Turnerplannedtospend$1.5 at anestimatedcostof$9million;in1989,37filmswerecolorizedby feature film.During1990Turnerhad36filmsscheduledforcolorization per minuteoffilm,oratotalcost$200,000to$300,000fortypical 7555). Thecostof“colorizing”amoviemayrunfrom$2,000to$3,000 345 East47thStreet,NewYork,York10017;telephone:212-705- 55 (publishedbyTheInstituteofElectricalandElectronicEngineers, soms IntoColor,” the colorizationprocess,MarkA.Fischetti,“TheSilverScreenBlos- ary, 1987,pp.29ff;and,inacomprehensivereviewofthetechnology 10022; telephone:212-906-8800(Fax:212-906-8891). 1984, pp.8–9. advertisement in Vol. 64,No.7,July1983,insidebackcover. as WeReallyWere,”advertisementin October 1981. Film toTakeYouIntotheFuture Die –They’reJustFadingAway,” 13, 1980,pp.1C,2C.Seealso:RichardHarrington,“OldMoviesNever ‘Working onIt’,” other newspapers. May 11,1980.Thisarticlealsoappearedundervarioustitlesinmany “The ColorofMoney,” The DesMoinesRegister “Directors FightCopyrightingofTintedOldFilms,”(AssociatedPress), or aBane?”, phone: 212-642-4900(Fax:212-398-0023). Institute, Inc.,11West42ndStreet,NewYork,York10036;tele- Standard maybepurchasedfromtheAmericanNationalStandards Standards Institute,Inc.,NewYork,1991.Copiesofthe Photographic Images–MethodsforMeasuring can NationalStandardforImagingMedia–StabilityofColor ematographer “In filmarchives,cellulosenitrate-based materialsmustbestored See also:JackGarner,“FilmsFade–DirectorProtests;Kodak’s The NewYorkTimes , Vol.72,No.5,May1991,pp.35–40. Democrat andChronicle American Cinematographer IEEE Spectrum The AcetateNegativeSurvey:FinalReport SMPTE Journal SMPTE Journal American Film , October16,1986,p.3A;SusanLinfield, Eastman ColorPrintFilm5384—The , AmericanNationalStandardsInstitute, The WashingtonPost , Vol.24,No.8,August1987,pp.50– , EastmanKodakBrochureV3-351, SMPTE Journal The NewYorkTimes SMPTE Journal , August5,1986,pp.1and21; , Vol.101,No.5,May1992,pp. , Vol.101,No.5,May1992,pp. , Vol.XII,No.4,January–Febru- , December1936. American Cinematographer , Rochester,NewYork,May ANSI IT9.11-1991,Ameri- San FranciscoChronicle ANSI IT9.9-1990,Ameri- , Vol.65,No.1,January Variety , AmericanNational , Vol.101,No.5, , Vol.97,No.12, Journal ofthe American Cin- , July20,1980. , Vol.299,No. , October5, , Uni- , ,
This document originated at on June 6, 2003 under file name: h emnn rsraino oo oinPcue Chapter9 The PermanentPreservationofColorMotionPictures 7 A.TulsiRam,D.Kopperl,R.Sehlin,S.Masaryk-Morris,J.Vincent,and 37. P.Z.Adelstein,J.M.Reilly,D.W.Nishimura,andC.Erbland,see 36. P.Z.Adelstein,J.M.Reilly,D.W.Nishimura,andC.Erbland,see 35. 0 B.Hunt,G.Kennel, L.DeMarsh,andS.Kristy[EastmanKodak],“High- 50. GlennKennel,managerofproductdevelopment, advancedtechnology 49. BobFisher,“The DawningoftheDigitalAge,” 48. 2 PeterZ.Adelstein,C.LorenGraham,andLloydE.West,“Preservation 42. EarlGreen,“CanadaRestoring500PixFrozenSince1929,” 41. Suppliersofcustom-made,high-qualitycardboardfilm-storageboxes 40. “Vented”polypropylenefilmcansareavailablefromthePlasticReel 39. SodiumaluminumsilicateisavailablefromW.R.Grace&Company, 38. 7 InOctober1981,JackB.Goldman,atthetimewithIronMountain 47. RichardPatterson,“ThePreservationofColorFilms,” 46. LincolnPerry, 45. NoelLamar,PhotographicTechnologyDivision,NationalAeronautics 44. ArchivesforAdvancedMedia,Inc.,838N.SewardStreet,Hollywood, 43. ‘Vinegar Syndrome’,”presentedatthe P. Miller[EastmanKodakCompany],“TheEffectsandPreventionof Note No.34,p.353. Note No.32,pp.336–346. to beasaferchoiceassupportforfilmmaterialthatwillarchived.” sis exists.Therefore,polyethyleneterephthalate[polyester]isbelieved circumstances, whichcannotbeconsideredextreme,ariskforhydroly- experience inthearchivalworldindicates,however,thatcertain tions, willlastforatleastafewhundredyears.Recentpractical nated byotherlayersorproductsandifstoredunderthepropercondi- temperature aspossible,preferably–18 30% RHatroomtemperature,sealedair-tight,andstoredaslowa pher SMPTE Journal Resolution ElectronicIntermediate System forMotion-PictureFilm,” author, December9,1992. Kodak Company,Hollywood,California, telephonediscussionwiththis products, MotionPictureandTelevision ImagingDivision,Eastman 43 above). to startArchivesforAdvancedMedia,Inc.inHollywood(seeNoteNo. temperature facility.AlongwithBillLawler,Goldmanleftthecompany the timeofthiswriting,IronMountainGrouphadnotconstructedalow- facility wouldhavemuchlowerunitcoststhanasmallinstallation.At depend on—amongotherfactorsthesizeoffacility;averylarge cubic footcostasthebestavailableestimate.Theactualwould in operationatthetimeofthiswriting,authorhasused$30per SMPTE of Motion-PictureColorFilmsHavingPermanentValue,” Vol. 331,No.6,June1,1988,p.48. 0940 (telephone:716-271-8960). tion, 439MonroeAvenue,P.O.Box940,Rochester,NewYork14607- ginia 22404(telephone:703-898-7300);andLightImpressionsCorpora- Corporation, 4410OverviewDrive,P.O.Box8360,Fredericksburg,Vir- Springfield, Virginia22151(telephone:703-321-7730);TheHollinger include: ConservationResourcesInternational,Inc.,8000-HForbesPlace, P.O. Box58,Butler,NewJersey07405(telephone:201-838-4363). (telephone: 201-933-5100).Also:PlasticanCorporation,10ParkPlace, Corporation ofAmerica,BrisbinAvenue,Lyndhurst,NewJersey07071 Union CarbideCorporation. 2117; telephone:410-659-9000.Thematerialisalsoavailablefromthe Davison ChemicalDivision,P.O.Box2117,Baltimore,Maryland21203- nia, December10,1992. the AssociationofMovingImageArchivists cause nocommercialfacilityoffering0 Television Engineers,LosAngeles,California,October28,1981.Be- Conference andEquipmentExhibitoftheSocietyMotionPicture mercial ServiceforLowTemperatureColorFilmStorage”atthe123rd for IronMountainGroup,Inc.andgaveapresentationentitled“ACom- for inflation.Goldmanhadconductedacoldstoragefeasibilitystudy increased to$30peryearcubicfootbythisauthorasanadjustment (–18 commercial storagecostof$18peryearcubicfootspacefor0 Group, Inc.,Boston,Massachusetts,gavethisauthoranestimated ematographer istration, LyndonB.JohnsonSpaceCenter,Houston,Texas,1975. Photographic TechnologyDiv.,NationalAeronauticsandSpaceAdmin- Film and SpaceAdministration,telephonediscussionwiththisauthor,1977. anywhere intheworld. magnetic mediastorageatabout55 struction ofsuchafacility.ArchivesforAdvancedMediaoffersfilmand think therewasenoughpotentialbusinesstoproceedwiththecon- storage (e.g.,0 tempted tointerestclientsintheHollywoodarealow-temperature California 90038(telephone:213-466-2454).In1982thecompanyat- (0 was nocommerciallyavailablehumidity-controlled,low-temperature this bookwenttopressinlate1992,author’sknowledge,there ° F [–18 “The literatureconcludesthattriacetatefilmbase,ifnotcontami- ° , TechnicalReport(ContractNASA9–11500,TaskOrderHT–133), , Vol.73,No.4,April1992,pp.70–86. C) 30%RHmotionpicturefilmstorage;thisestimatehasbeen , Vol.79,No.11,November1970,pp.1011–1018. ° C] and25%to35%RH)filmstoragerentalspaceavailable Black-and-White SeparationsofSpacecraftOriginal , Vol.62,No.8,August1981,pp.792ff. ° F [–18 , Vol.100,No.3,March 1991,pp.156–161. ° C] at30%RH);however,thecompanydidnot ° F (12.8 ° F (–18 ° 1992 AnnualConferenceof C [0 ° C) and50%RH.Atthetime ° American Cinematogra- F]. ° C), 30%RHstoragewas , SanFrancisco,Califor- American Cin- Journal ofthe Variety ° F , 6 The0 56. Ralph N.Sargent, 5 W.Stackhouse(chairman),“ReportoftheTaskForceonDigitalImage 55. JohnC.Mallinson,“MagneticTapeRecording:History,Evolutionand 54. JohnC.Mallinson,“ArchivingHumanandMachineReadableRecords 53. NationalArchivesandRecordsService, 52. 1 P.Z.Adelstein,“StatusofPermanenceStandardsImagingMateri- 51. Peter Hay, FIAF, FIAF, FIAT,andIASA, European BroadcastingUnion, Eastman KodakCompany, Eileen BowserandJohnKuiper,eds., Additional References Curt Sanburn,“TheRacetoSaveAmerica’s FilmHeritage–Ofthe21,000 Roderick T.Ryan, Richard Patterson,“ThePreservationofColorFilms–PartI,” Lawrence F.Karr,ed., Patricia O’Brian,“TreasuresLostasColorFilmFades,” Munters Cargocaire, Daniel McKinny,“NetworksKeepPaceinPostRace,” Joseph McBride,“ParDustingOffItsHeritage, Gert Koshofer, Gert Koshofer, 8, July1985,pp.68–80. Movies MadeBefore1951,Morethan HalfAreMissing,” Focal Press,London,England,1977. Entertainment Co.),OneCNNCenter,Atlanta,Georgia30348),1991. of TurnerBroadcastingSystem,Inc.,theparentcompany Federation InternationaledesArchivesduFilm,Brussels,Belgium,1981. Berlin, Germany,1988. Association ofSoundArchives,publishedbyStiftungDeutscheKinemathek, tion InternationaledesArchivesdeTelevision,andtheInternational sored bytheFederationInternationaledesArchivesduFilm,Federa- Technical Symposium Brussels, Belgium,August1974. Tech. 3202-E,TechnicalCentreoftheEuropeanBroadcastingUnion, Eastman KodakCompany,Rochester,NewYork,June1983. Federation InternationaledesArchivesduFilm,Brussels,Belgium,1980. ington, D.C.,1974. Public BroadcastingandTheNational EndowmentfortheArts,Wash- ematographer Patterson, “ThePreservationofColor Films–PartII,” Cinematographer day Register (toll-free: 800-843-5360);Fax:508-388-4556. 640, Amesbury,Massachusetts01913-0640;telephone:508-388-0600 1990. CargocaireEngineeringCorporation,79MonroeStreet,P.O.Box tographer 38, April27,1990. Spiess GmbH,Berlin,Germany,1988. Munich, Germany,1981. Washington, D.C.,April21–23,1980. Motion PictureFilms Quality Level,”pp.886–887,andinSec.7.9“AudioQuality,”p.889.) 855–891. (NoteespeciallythediscussioninSec.7.4“Compression search DivisionoftheNationalArchivesCanada. recommended byKlausB.Hendriks,directoroftheConservationRe- new colorfilmstoragefacilityscheduledtoopeninlate1996were Architecture,” Council onArchives,60,ruedesFrancs-Bourgeois,75003Paris,France. 1989. CopiesoftheproceedingsareavailablefromInternational The proceedingswerepublishedbytheNationalArchivesofCanada, National ArchivesofCanadaandtheInternationalCouncilonArchives. sium washeldMay10–12,1988inOttawaandsponsoredbythe Symposium: ConservationinArchives Archival Considerations,”chapterin No. 1,March1988,pp.19–23. Readable Records,” also: JohnC.Mallinson,“OnthePreservationofHuman-andMachine- for theMillenia,” also: JohnC.Mallinson,“PreservingMachine-ReadableArchivalRecords August 25–28,1985inOttawaattheNationalArchivesofCanada.)See Springfield, Virginia,pp.388–403,1985.(Thesymposiumwasheld Summaries), theSocietyofPhotographicScientistsandEngineers, and PreservationofPhotographicImages for theMillenia,” tee onPreservation),July1984. tional ArchivesandRecordsServicebySubcommitteeCoftheCommit- and MachineReadableRecords siderations RelativetothePreservationandStorageofHuman January–February 1992,pp.37–41. als,” The PreservationandRestorationofColourSoundinFilms Journal ofImagingScienceandTechnology ° F (–18 MGM: WhentheLionRoars , Vol.73,No.9,September1992,pp.44–52. Farb Fotografie Color —DieFarbenDesFilms ° , May18,1980,p.6/H. C) and25%RHconditionsthatwillbemaintainedinthe A HistoryofMotionPictureColour Technology SMPTE Journal , Vol.62,No.8,August1981,pp.792ff. Preserving theMovingImage The DehumidificationHandbook–SecondEdition Archivaria Proceedings –ConferenceontheColdStorageof Second InternationalSymposium:TheStability , Vol.62,No.7,July1981,pp.694ff;andRichard Archiving theAudio-VisualHeritage–AJoint Information TechnologyandLibraries , AmericanFilmInstituteandLibraryofCongress, (See , heldMay20–22,1987inBerlin,Germany.Spon- The BookofFilmCare Storage ofMagneticTapesandCinefilms , (Books1,2,and3),VerlagLaternamagica, Appendix 9.1 , No.22,Summer1986,pp.147–152.See , Vol.101,No.12,December1992,pp. (White PaperpreparedfortheNa- , TurnerPublishing,Inc.(adivision A HandbookforFilmArchives Proceedings oftheInternational Strategic TechnologyCon- , pp.181–190.Thesympo- Daily Variety , WissenschaftverlagVolker onfollowingpages ..) , KodakPub.No.H-23, (Printing ofTranscript , TheCorporationfor American Cinema- Des MoinesSun- , Vol.36,No.1, American Cin- Life , Vol.277,No. , Vol.8,No. American , Vol.7, , The , , , , 342
This document originated at on June 6, 2003 under file name: 343 perature and profit curves.Itisaperverse methodof not someesotericproblem of formulas,emulsions,tem- between allmembersoftheindustry. Filmdeteriorationis als mustbeclosed.Anopen dialoguemustbeestablished over theknowledgeandstatus ofpreservingthesemateri- or objectivelyrecordevents andthosewhohavecontrol silence betweenthosewhomake theimages,expressideas it. record thepast,butofthosewhofurnishmeanstodo intact. Thisistheresponsibilitynotonlyofthosewho past fromtheserecordsoflivingtime.Theymustbekept flect andshapehistory.Thefuturewillknowjudgethe torical stillphotographsandvideo—fortheyrecord,re- must bepreservedforman’sheritage. immediate reflectionofworldcultureandhistory.Film tury artform—theAmericanform.But,itisalso responsibility. Weallagreethatfilmisthetwentiethcen- The Solution The Problemisnotsimple,butitcanbesimplystated: and takeactiontosolveit. and filmmakersfilmgoersmustrecognizetheproblem issue. Otherfilmcompaniesmustshareresponsibility, turer —althoughtheyarenotentirelytoblameinthis stock. EastmanKodakistheworld’slargestfilmmanufac- that ifafilmisnotconsideredimportant,itlefttodie. have alreadydoneso.Methodsofrestorationaresocostly color processareabouttodeterioratebeyondrepair.Some for colorstabilityvanished.AllfilmsmadeintheEastman introduction ofEastmanKodakcolorfilmin1950,anyhope times thedestructionofmostfilmsIhaveseen.With In thattimeIhavewitnessedthedeteriorationandsome- a resultofwatchingandlovingfilmsforthepast36years. An IntroductoryWord: pedx91–“OutlineforaPreservationStrategy,” Appendix 9.1– h emnneadCr fClrPoorpsChapter 9 The PermanenceandCareofColorPhotographs .Researchanddevelopment ofnewmethodsfilmstorage 5. Researchanddevelopmentofnewmethodsfilmres- 4. Aneedforresearchanddevelopmentofanewprint 3. Deteriorationofexistingfilms(printsandnegatives). 2. Unstablefilmstock. 1. Advancement intechnologyissofastthatthegapof Not onlytheatricalfilms,butanthropologicalandhis- The problemofcolorstabilityisinherenttothefilm This outlineforaColorPreservationStrategycomesas (storage dataandmorecompactfilmstorage). toration. stock equaltoorbetterthanTechnicolorImbibition. startswithanunderstandingoffilmandour and HisStaffin1980 Written byFilmDirectorMartinScorsese often, asinthecaseof is astepintherightdirection,butfarfromenough.Very emy Awardwinnersandnomineesorfilmfestivalwinners, ers. Preservingonlycommerciallysuccessfulfilms,orAcad- not TVcommercialsarelessimportantthanmovietrail- mittees shoulddecidewhichfilmlivesordies,whether No ValueJudgments: past, forthefuture. cultural andhistoricalsuicide.We’vegottofightforthe Searchers the diversebranchesofmediawhich: affiliated orobligatedtoanybranchoftheindustry. vanced technologies.Itisimportantthatthegroupnotbe ervation expertsandfilmmanufacturerstoinad- tors tomuseums,archivesanduniversities;fromfilmpres- ery groupintheindustry:fromstudios,producersandac- organization shouldbecomposedofrepresentativesev- Creation andPurposeofaNewOrganization: shine through. .Willexplorenewmethodsoffilmrestorationforthose 5. Will,throughthisresearchanddevelopment,beginto 4. Will,withpropercounselinganddiscussionby itsex- 3. Willlearnaboutthebestnewtechnologicaladvance- 2. Willestablishandsustainanexchangeofnewideas. 1. .Wearealreadyawarethat most studiosandarchives 7. Willencouragebuildingof new coldstoragevaults,sus- 6. The neworganizationwouldbea“clearinghouse”for tracks, als onwhichtotransferfilmelements(negatives,sound- danger ofbeinglostanddiscovernewformsmateri- nitrate, blackandwhite,imbibitionotherfilmsin new. deplorable conditionofblackandwhitefilms—old work onthecolorpreservationproblemand development. pert members,encouragenewmethodsofresearchand ments andeducatethoseconcernedaboutthem. grees ofefficiency. A“norm”wouldinsure thatevery have storagefacilitiesthat function withvaryingde- “norm” forthepreservation of filmelements. taining thosethatalreadyexist, andestablishingthe age ofthesefilmelements. struction. Thisresearchwillleadalsotoproperstor- , itisonlytimeitselfwhichletsafilm’struevalue CRI ’s, YCM ’s, etc.)whichareindangerofde- The Allfilmsmustbesaved.Nocom-
Magnificent
Ambersons Anew or The
This document originated at on June 6, 2003 under file name: are: are anattainablereality.Butequallyimportantelements advancing technologyweknow,onthecontrary,thatthey seem hopelesslyidealistic.Justonthebasisoftoday’s Perseverance: case of its re-release.Theywilllookgoodforawhile,but,asinthe ervation. film isnotsuccessful,thereevenlesschanceofitspres- what happensafterisunimportant.Thiscanmeanthatif a fastest andcheapestway.Fromabusinesspointofview, term goal:getitonthescreenwithbestqualityin recoup —forcethemtobeconcernedonlywiththeshort which eventuallyaffectthefilmmakerthroughbudgetand The monetarypressuresonthestudiosanddistributors— 2) economical andpermanentpreservationmethods continue todevelopnewideasresultinginmoresensible, the bestwecan,andwhendo,nottobecontent,but ignore preservation anddestroyassets? especially theolderproduct — bepreservedforuse?Why new andold—willbeneeded. Howwilltheproduct— open newareaswhereanincredible demandforproduct— lets, satellitestations,tapes, videodiscs,allwillcontinueto the industry.Digitalprinting, lasertransfers,cableout- vere danger. classics, profitableandunprofitable,areobviouslyinse- taken bystudiosanddistributors,allfilms,recentones was pinkasaboiledshrimp.Itunwatchable. the printrevivedatRivoliTheatreinNewYorkCity Economics: work pastself-interesttowardacommongoal. dialogue hasbegunamongusandthatindeed,wecanall many branchesoftheindustryitseemsthatatleasta a crusadeforself-importance. and thesurvivalofthesematerialsthemselves.Thisisnot what greattalentswemayallbe.Thematterisknowledge it’ll survive”.Thematterisnotwhetheritgoodorbad, cated. So,apathysetsin—“What’stheuse,”“Ifit’sgood, tails. Whenwedofindthetime,detailsaretoocompli- Ignorance andApathy: this crisis. edly runintomanyobstacleswhichhavehelpedestablish Obstacles: is, afterall,acommoninterest.Wemustunitetopreserve. disagreements anduniteinthisonecommoncause,which h emnn rsraino oo oinPcue Chapter9 The PermanentPreservationofColorMotionPictures .Willactasaclearinghouseforpapermaterialsrelated 8. Unity—Allbranchesoftheindustrymustputaside If afilmishit,newEastmanprintswillbestruckfor Technological advancesare re-shapingandrenewing It mustbeunderstoodthatwhatevertheprecautions Judging fromtheresponsewehavereceivedso dents. collected togethertoformatraveling“archive”forstu- ther storedinanewarchivebuiltbytheindustry,or to film.Thesematerials,(posters,scripts)canbeei- maximum degree—ofefficiency. method ofstoragefunctionswithanequaldegree—a 1) Ourownperseverance.Thedeterminationtoachieve 2001: Inthecourseoftakingactionwewillundoubt- It’scheapertokeepthesituationsame.
A Thegoalsoutlinedinthisproposalmay
Space
Odyssey Thereisneveranytimeforde- , onlyforawhile.By1978, on pages308–309.] [Scorsese’s “RequestforInformation”toKodakisreprinted appreciate andanticipatedirecthonestanswers. questions forEastmanKodak.Weshouldverymuch reported toeveryone.Asafirststep,hereislistof meetings willtakeplacebeforethatandtheresultsbe for thefallofthisyear[1980]inLosAngeles.Manyother Meetings: Support andFunding:Someinitialideas. 4. 3. 2. 1. tected. should bedeclarednationalarchivematerialtopro- Congressional Action. are inquestion. where restorationisofmostimportance,orrights Government Support. should beusedforpreservation. Studios. cameramen. directors andstudios,actors,distributors,writers is preservedinthewaywewant.Allshouldcontribute: from thefilmwe’reworkingontoinsurethatourwork also volunteeronepercentofoursalariesandprofits best methodsofpreservation—contractually.Wecan Individual Initiative. Anindustry-widesymposiumisbeingplanned Acertainpercentageofeachfilm’sbudget Wecaninsistonthelatestand Especiallyinthecaseoffilms Filmanditsrelatedmaterials 344
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