Q. Do I need special conditions to store my media materials?

A. If you desire to extend the usefulness of your media as long as possible, storage in a specially designed climate-controlled environment is recommended by the world's leading archivists and preservation experts. This has been proven to significantly reduce damage to media assets cause by variables such as temperature, relative humidity (RH), air pollutants, improper handling and theft.

Q. What conditions should I store my materials in?

A. Each type/form of media has its own particular characteristics and composition, and therefore, its own specific requirements for preservation. As a general rule, archivists contend that environments that maintain a low, constant relative humidity (RH) and a cool temperature (18 Degrees Celsius or below) are idea for media preservation. The following is a general guide to some of the attributes and requirements of some common media types. This information has been drawn from the Australian National Film and Sound Archive, and the New York Image Permanence Institute. For further information, consult http://nfsa.gov.au and http://www.ipi.com. (See also White Paper 'Minding the Future').

Film: Motion picture films are composed of a very thin gelatin emulsion layer coated onto a thin layer of plastic. In older films this plastic base may be highly flammable. In newer films, 'safety bases' are cellulose acetate or polyester. All these materials deteriorate differently, but recommendations for their care are primarily the same. The life of films is primarily determined by the temperature and humidity at which the film is stored. Specific temperature requirements depend on the type of film, however, generally a cool temperature with RH of 30-50 % is recommended. They should be stored in a film container, preferably plastic, and kept in a cool dry place with minimum temperature and humidity fluctuation.

Mold: Although some antifungal additives are used in photographic films, the photographic industry has not developed a way to prevent mold. Any time the ambient RH remains above 70 % or so for several days, mold growth is possible.

Chemical Attack: Gelatin is also subject to chemical attack by acids, alkalies and oxidizing air pollutants. This attack is influenced by the moisture content of the gelatin, determined by the ambient RH.

Dry Conditions: Excessively low humidity (less than 15 % RH) can render films too brittle to be handled and can cause 'spoking'. Stored films should be wound onto a spool with moderate tension. Film should be kept well away from any water source. Note that boxes or cupboards may emit chemicals used in glue or construction material which could damage the film. An odd smell is a strong warning that your film is deteriorating, as is the appearance of small crystals on the film, curling or flaking off of the emulsion layer. It is recommended that labeling be placed on the outside of the film container, and only high alpha cellulose paper should be placed in the can/container with the film. Managing paper type can be difficult. It is best to link paper documents to the film via clear cataloging entry and store papers separately. Trapping decomposing gases around a film can also rapidly accelerate the decomposition reaction, therefore it is also no longer recommended practice to wrap films in plastic bags for storage.

Audio Tapes, Disks: While magnetic tape is a broad term covering a wide variety of information-recording systems for sound, image or data, audio has been separated from video here for purposes of clarity. The recommended care of audio tapes is to look after both the base and the magnetic layer onto which the sound is stored. For long term storage, ISO recommends a temperature range between 11 and 23 degrees Celsius, and RH levels between 20% and 50%. Magnetic fields such as those from high-voltage power lines, may damage tapes that are stored in close proximity. Experts suggest that disks and tapes should be stored upright in cool, dry conditions with a minimum exposure to dust and other pollutants. It is also recommended that tapes be played through or respooled every few years to minimize layers sticking together.

Magnetic Videotape: Notably unpredictable, the life of a tape depends on good storage, the quality of the tape and frequency of use. Recommended storage conditions are comparable to those for magnetic audio tapes, as discussed above. Containers should be stored upright and kept off concrete floors, avoiding attics, cellars or garages, and not kept next to a VCR in an enclosed cabinet. A period of warm up or cool down is also recommended for extreme temperature changes. As there is no diagnostic test (such as A-D strips) for magnetic media, it is recognized that the storage environment plays an important part in preservation.

Photographs: As with motion picture film, photographic materials are comprised of several layers, including the support (base) layer and the image (emulsion) later. Photographic material is vulnerable to elevated temperature, moisture, air-borne pollutants (dust, peroxides, acids), UV light and bad handling. The basic principle is to achieve and maintain a cool, dry, stable environment, avoiding areas near a water source or an external wall. Archivists suggest multi-layered packaging such as a sleeve, a box, and a cabinet, to increase protection.

Note: Plastics are suitable for storage but must be made of chemically inert material such as ‘uncoated polyester’ polypropylene or polyethylene. Avoid polyvinyl chloride (PVC) as this produces harmful chemicals. Paper that is acid free, unbuffered and seamless is suitable for prints and negatives. Experts also advise to avoid self-adhesive (magnetic) albums and other products that contain PVC plastics. It is recommended to choose products that pass the PAT (Photographic Activity Test). Prints and negatives are best packaged individually or interleaved with acid free paper. Photo emulsion is easily scratched by stacking photos. Avoid metal pins, paper clips, staples or rubber bands.

Digital prints are even more susceptible to the detrimental effects of light, air and moisture, so especial care is needed, as outlined above.

Q. What is Data Rot?

A. Data rot is the term used to describe loss information stored on different media. This loss can be caused by environmental factors such as humidity, which may cause the physical media to decay. It may also be caused by the changing technology itself, whereby the media format becomes obsolete, and finding equipment or programs with which to access the information becomes more and more difficult.

Q. What are the dangers of storing on a hard drive?

A. Much discussion and debate still continues around the industry move towards digital media technologies, and their relative merits and drawbacks. Digital technologies offer media producers greater efficiency and flexibility across many phases of production, and from a storage perspective, digital stock and formats require less space. However, it should be noted that there are still potential risks, including potential file corruption, file compatibility, and possible future technological obsolescence. This is especially pertinent for 'born digital' material, which may not have an analogue master. For a more detailed discussion of these issues, see White paper 'Riding the Digital Wave'.

Q. What questions should I ask my potential storage vendor?

A. 1. What is the temperature and relative humidity? At what intervals are these environmental conditions monitored and corrected?
2. What types of materials will be stored in the same storage room as my material?
3. When materials are needed, are they paged or retrieved self-service style?
4. What is the staging procedure for removing and returning films to storage?
5. What level of security is practiced?
6. What happens to my material if there is a power failure that affects the climate?
7. What are your risk and quality management policies and processes?
8. What energy conservation policies do your apply?

Q. What makes a good film container?

A. Manufacturers make film containers from archival cardboard, plastic and metal. The ISO publishes standards for these, and recommend plastic cans be made of polypropylene or polyethylene. Cardboard boxes should be either neutral or buffered and composed of lignin-free materials. Cans of non-corroding metal are also accepted. Containers should not include glues or additives.

A Note on Ventilation: If film is kept at room temperature, a tightly closed container prevents escape of acetic acid and can accelerate decay such as vinegar syndrome, as well as speeding nitrate film deterioration. As the temperature decreases, the chemical reaction slows and venting makes less difference.

Q. What other things can I do to ensure my material is well preserved?

A. This largely depends on the types of material that comprise your collection. Fragile materials such as film greatly benefit from condition assessments such as A-D strip testing to ascertain overall condition and any current state of decay. Periodic cleaning, grading, repackaging and quality checks may also assist in the long term management of your media assets. Producing 'safety' copies, compiles and digital backups of analog material is also a protection measure.

Q. How often should I review my material once stored in ideal conditions?

A. This largely depends on the individual, and the nature of the collection. Most media producers review their material every 5 - 7 years.

Q. I'm culling my material. What should I keep?

A. Most industry practitioners recommend that any material from initial capture should be kept. Some media organizations like to reduce the size of their collections by disposing of excess negatives, and cutting back their numbers of safety masters.

Q. If I have a tape that has been accidentally erased or taped over, can I recover the original recording?

A. No. This is the most common question asked by home users. The only organization known to have technology that can recover even partial amounts of erased or taped over material is the FBI. The technology they use is classified and is not available to the public.

Q. Why don't my tapes last forever?

A. Recording tape was never actually designed to last for a long time: it was designed to be easy to use and to copy. Even in storage, unused tapes will decay over time. The primary cause of this decay is a chemical process called binder hydrolysis. In this process moisture, usually absorbed from the surrounding air, interacts with and breaks down molecules in the recording and backing layers of the tape. The severity and speed of the decay is determined by temperature and relative humidity (RH).

Q. How long can I expect my tape to last?

A. The variables involved in this question are so numerous that no single answer can possibly be correct. However, as a general guideline:

• If you have professional quality tape from a major manufacturer and keep it in a dry environment that is comfortable for you, it should last at least ten years.
• If you keep tape in a stable, controlled environment that is slightly too cold and too dry for a person to be comfortable in, your tape should last for at least fifty years.
• If tape is of a totally unknown brand or is miniaturized there is no real life expectancy: consider yourself lucky every time it still works!

Q. At what temperature and humidity is it best to store my tapes?

A. It depends on which is most important to you -- long tape life or easy access. The colder and drier the environment in which you store your tapes (until you approach a lower limit of about 45 degrees and 20% RH), the better for the tapes, but the less convenient for you. Tapes stored at low temperatures and humidities cannot be used safely until they are returned to near-operating conditions in a controlled environment. This requires special handling and a lot of time.

Q. Are the new digital tapes less subject to disasters than the old analog formats?

A. No! The new tapes are much more delicate. The smaller size, higher recording density and new metal particle formulations make modern tape formats much more susceptible to disasters. SPECS BROS. has developed special techniques to deal with these problems.

Q. Do my old tapes need to be cleaned before being copied?

A. If there is any evidence of dust, debris or damage on your tapes they should be cleaned. Testing by both manufacturers and government labs shows that very small particles on the surface of a tape can interfere with the signal during copying. Cleaning by a professional can also identify serious tape problems that, left untreated, may cause permanent damage.

Q: Why do my old tapes stick or squeal when I try to play them?

A. The most probable cause is binder hydrolysis. This is a chemical breakdown of the tape, usually due to interaction with moisture in the air over a period of time. The result is a sticky residue on the surface of the tape. The problem occurs because the tape has been stored in an area that is too damp and too warm. Tapes with binder hydrolysis can usually be fixed.

Q. If I have a disaster at home can my personal collection be restored?

A. Recovery techniques used on professional tapes can also be used on most consumer formats. However, some techniques do not work as well on miniaturized tapes, such as 8mm video. If your tapes are easily replaced store-bought copies, it is often less expensive to replace the tapes than to pay for professional restoration.

Q. If I don't copy my old tapes right away am I likely to lose them all in a few years?

A. While it is true that a lot of old tapes are deteriorating, much of the panic about making copies immediately is marketing hype: someone wants you to spend a lot of money right now! If your tape is 20 years old and still plays, it will probably play next year. This doesn't mean that you should do nothing! Tapes do deteriorate. At the very least, you should have some of your tapes tested to determine their condition. Also make sure that your tapes are in a good, stable environment. Proper storage can slow decay and give you time to formulate a long-range plan.

Q. My tapes got wet. What should I do?

A. Wet tapes often require decontamination. Improper drying causes tapes to deform, break, stick together, and may increase chemical decay. Get your wet tapes to a restoration specialist fast.

Q. Can wet tapes be "freeze-dried" like some paper materials?

A. Freeze-drying has been used on tapes but it is not recommended. Certain chemical components of tape are damaged at freezing temperatures. The procedure can also leave dried contaminants, which interfere with playback, on the tape surface.

Q. There's fungus growing on my tapes. What should I do?

A. Do not play tapes with fungus! This can damage the tapes, contaminate your machine and may even throw enough spores into the air to affect you. Fungus can be removed but this is not something you should try yourself. If you find fungus on a tape, isolate the tape to avoid spreading contamination and call a specialist. Also examine the area where the tapes are stored: it is probably too humid.

Q. What does "exercising" tapes mean and do my tapes need it?

A. "Exercising" is the periodic winding and rewinding of tapes. It is recommended to reduce print-through, an "echo" effect, that occurs on analog audio tapes in storage. If you have analog audio tapes, it can be important to exercise your tapes on a regular basis. Exercising has not been shown to have a beneficial effect on any other type of tape.

Q. Is your storage service provider environmentally responsible?

A. Preferred Media is committed to long term environmental protection, and has implemented numerous sustainability measures to support its Green Policy. All staff members take measures to recycle, conserve and reduce energy consumption, and are continuing to develop strategies aimed towards becoming carbon neutral.