LET FILM BREATHE: triacetate film needs to “breathe.” Notes from a Film Archivist

If I´m not projecting valuable triacetate titles of my film archive for a while, them, I make a point of rewinding the prints from head to tail and back again at least once a year. This practice is, of course, unnecessary with polyester film, whose chemical stability and base characteristics make it far less vulnerable to the same risks.

Many years ago, during a preservation course I attended in Rochester, Kodak recommended that for proper storage of triacetate film, the emulsion should generally be kept wound inward. However, they also advised that the winding direction be occasionally reversed. This simple action helps relieve tension and promotes a healthier internal balance within the roll over time.

In that respect, projectors such as the long-play Fumeo VI, which rewinds the receiving reel in reverse orientation, are ideal for the archivist with limited time. With each screening, one can automatically comply with Kodak’s recommendation, combining projection and preservation in a single gesture.

VENTILATED STORAGE BOXES.

An adequately ventilated archive vault would be of little use if triacetate films were stored in airtight cans or sealed containers.

When archived in boxes, reels should have ventilation openings to allow proper air circulation. Without airflow, degradation byproducts can accumulate within the container, accelerating chemical decay rather than slowing it. A film vault protects the environment around the reel; ventilation protects the environment within it.

Preservation is not only about temperature and humidity. It is also about allowing film to breathe—subtly, invisibly—so that time moves more slowly across its surface.