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Los Angeles Hearing 57
have to encompass three areas.
The first was a computerized database utilizing bar code technology in order to identify all film and tape elements, their condition, storage location and, very importantly,
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their movement tracking.
Second was the program method of inspection and evaluation, repair, replacement, restoration, proper secured storage with authorized access and a prioritized system identifying elements that needed attention before deterioration destroyed the element.
And the third area was a philosophy of protection by separation, as others have mentioned, to insure that all elements were not stored in the same physical location, thereby precluding the total loss of a title.
This translated into a goal of being able to produce a high-quality commercially acceptable product from at least two diverse geographic locations. Our own self-iraposed criteria for full protection is to maintain the original camera negative in our LdS Angeles archive at 40°F, 25% relative humidity.
We also inspect and repair as needed an interpositive for the Los Angeles archive and inspect and repair a three-strip separation protection YCM to be located in our East Coast underground vault, which we also maintain at 40°F, 25% relative humidity. Split track magnetic audio is also stored at the bicoastal locations.
Even in the rare instance when market potential does not warrant manufacture of material following inspections, we still position the existing material in our environmental vaults to arrest further deterioration. By so doing, we protect everything. The preservation project took on a life of its own as concurrent assignments proceeded on a scheduled basis. A gifted in-house computer programmer developed the necessary software and system configurations to enable the worldwide inventory to commence.
We visited each major underground storage site in the United States to choose a second home for Paramount elements. Outside vendors were chosen to handle the huge volume of element inspection, evaluation and repair or replacement and all information was continuously fed into the database. While the preservation progress of commercial titles proceeded at an active pace, Paramount continued to nurture the historic stars of its past.
The 1957 Fred Astaire, Audrey Hepburn [film] Funny Face was restored for the 1990 AFI Lx)s Angeles Film Festival. Original nitrate elements of the 1912 Queen Elizabeth, the 1914 The Squaw Man and the 1923 The Covered Wagon were transferred to safety film at Paramount's expense and the original elements were then loaned to public archives in order to complement their collections, including the Museum of Modem Art,