 Until recently, if you follow, if you use the various tools and the papers that come from IPI and other places, there was like what I like to call a toolbox there. And there was a lot of things there. There are essentially various tourist guides with little wheels who allow you to see of this film with last a given number of years for the color dyes and the same thing. There is this publication, authored by Peter, the MSQR, who can compare in a very concise way a lot of information about how to store and how to make those materials live longer and longer. And then there is a web application like the DuPont calculator, the E-Climate notebook and so on and so on. But I often use myself all those tools and when you say, okay, what kind of tool do I need now and how they connect to each other? And so there was a feeling of there was a kind of missing link there, something that could consolidate all those data in a way and background information and convey in a form that we can learn about film because there is a lot of people who come into this field and they don't know. And there is less and less people actually that know about film because we tend to move to new technology and also how to care about film, but in a very, very practical and methodical way. So this is where we came with this idea. And we thought that it was a good time for this because, yes, there is a long history, archivist, librarian, deal with decay all the time and they see it. There have been immense body of data that are being really developed over several decades of work, not only in the U.S. but also in the U.K. and also in Japan actually at the beginning. So there is a lot of things and you have those tools and there was a way to not force but invite people to use it in conjunction. That was really the intent. And the most important was here, the last point here, that physical preservation is still something we have to do no matter all the new tricks that we can do to communicate information. We still have to care about those materials. So we focus on film in this particular project. We focus on education, actually it was a grand education and training that we got to develop. We want to have a component that could be a decision making tool that like a step by step. Okay, we hold your hand but you are the guy who makes the work and make happen and really improve the situation of your collection. Everything has to be concise, you don't want to read forever on your computer screen. So all of this was the kind of requirement that we decided to put in it. So again, when you look at what to do about film, we come to the conclusion that there is really only three things, the three major things that we need to do. We need to know about the material, definitely. We need to really embrace this idea which is not an idea, it's a fact that storage condition really conditioned the life expectancy of the materials, of organic material in general. And when you add all of this and let's say you have the ideal space for your material, you still have to monitor. And I am not talking only about monitoring the condition here, you have to monitor what is happening to the material. It will still decay at a certain rate, but you have to follow that. So the approach is relatively simple, right? And it's a knowing story and monitoring, as I like to say all the time. And this is what I will give you some background and why we came to this thing. So this is a free application so everybody can go there. And many of you actually went to the website, I suppose, yes or no? Wow, so I should sit. But I want to give you also some background and how we decided to do what we did. So the second page, this is a page where you can learn about film. Again, there's a lot of volunteers who are going to archive in museum and health. And we saw that there's some component there that will be useful to have in this web application that they can learn about. So the first thing is learn about film. That is something that will be expanded. You have a timeline here that you can explore and see the key date and so forth and learn basically. Film come in various format, as we know. Even this morning, we saw a lot of different format on the screen there, from X-ray to roll film, still and so forth. So that's what was important. And more in addition, it was also often a key to identify some of the plastic. When I say knowing the material, it's okay, we need some kind of help sometimes to know it's nitrate, it acetate. And this morning, we had this. We can't afford to have an infrared next to the film and the archive and do the analysis and so forth. So in this particular tool, which is a combination of, I would say, some information which is in the MSQR, it's also pioneering publication in the early 90s, I don't remember exactly today, between 93, that Andrew Robb and Monique Fichier over there, based identification, and they put in a very simple, was it a project in the school, when you were at the school? But that was extremely useful because they distilled the information to the point that you could decide most of the time what you have. So this is a little bit of an inspection of that, and I want to acknowledge this. So the first thing, everybody can say if it's X-ray or cut sheet film or motion picture film, so you go there and then you can, sometimes you can have a date range, this is the chronology will help you. The idea is to narrow, narrow, narrow down. And again here, you don't want necessarily to identify one single object for your preservation project and planning, you need to have an idea about what you have and what kind of potential problem you may have in your museum. So you narrow down and then up, you have the more likely answer, but the idea here is to learn about, okay, it's to learn about the process and what is happening about the history and so forth, there's some tests, like the polarizer test, which I explain and demonstrate, it can be useful to really pinpoint what you really have. So there's various material, of course, and film material, black and white film, technical, and then there's the homogeneic film, so you can see that when you have a picture like this, okay, you can't cut your film and yourself, but you learn a lot about those process just by looking at this picture and looking at how the dye are organized in the emulsion. There's nothing in common between a technical law and a homogeneic. So you have some pages here that you can, again, consult and have a lot of example of material there, again, to learn, to learn and to learn. So all of this, it's a lot of work that many interns have worked and others on this. It's not all us, it's really a collaborative work. The other thing, which is, I think, key as the aid, it's a visual decay guide. So if you look back, and I remember 20 years ago, I was focusing, and when you go to conference like those on the screen, there was only decaying material, horrible things. It was like a lot of decay, and it was doing good pictures. So now the difference, yes, often I think we understand better and we know what to do to avoid that it will decay, decay further. But anyhow, you have to identify what is happening. So here we can compile and limit to 16 major type of decay there. And that's covered a lot of ground, what you see, unfortunately, in the archive. So this one, for example, again, this is a plasticizer, by the way. Trifene and phosphate, really, it's a good picture of that, actually. So for each category of decay you have, this is the model we showed, what happened, what caused it, and what to do about it. But at this point, you know what, you can't do much, right? But what you can do is to limit further down the road. And what I like to say also is for every damage, and when I talk damage, that is so negative, which is damage. Materials, there is hundreds and thousands that are in good shape. And I think our efforts are to focus on those, the one who are in good shape. The other one, well, unfortunately, they are what they are. And that's a sweet to be the idea. So we talk about this this morning, but that was certainly a key point. The arenas prediction approach we're using, and using, and abusing, maybe. But this is where we can put out those tools, those wheels. So in the wave application, of course, because it's much easier, the few data points that you could put in the wheel, they are way expanded. And I will show you how it looks like. The nitrates, again, we said a lot of bad things about nitrates this morning. That they care, and so forth, and so forth. We also said that some are in main condition. And as a matter of fact, this graph here that was published show that, well, if you really put them in the cold, those samples, they can go hundreds of years easily. And I think the natural aging that they went through it over the decades and decades are consistent with something like this. So yes, we can preserve those. We can preserve, of course, acetate. And there are still people who are skeptical. And that's those data, you know, accelerated aging, they are really true. And so there is one experiment we take a lot of time. It was to have some samples we're around this point here in the term of acidity level, which is when everything speed up. This is what we call the auto-catalytic point. So from the third project that Peter was mentioning this morning, we had, actually I had a lot of film that I had there who was at this point here. So much of the work is to produce samples. So I kept them around for 20 years. I mean, they're still there, okay? And half of them were in the freezer and the other one were in the chem lab, human comfort, the 70, 50 environment. So you can see here, which is significant that after five years, it's really not long at all, right? After five years, actually the acidity had doubled, just after five years. And at this point you can see some physical property changes. In the material kept in the freezer after 20 years, you can't measure really any change in term of acidity, which is the most sensitive. So now I can put my right hand or my left, I don't know which one. That for sure 20 years it will work, and of course it will work more than this. But those were really that, you have to be patient, I guess. And there's nothing you can say against those data, they're really the truth. So over the year, during this decade, we look at a lot of different things. Okay, and you heard about this, what kind of role unclosers can play? Who can role acid scavengers like molecular serapses and so forth, developing diagnostic tool. All those things have been adding to our knowledge here. And it came to the point that, okay, let's put this into practice. And it's not necessarily easy to really translate all those data into some kind of tool that we can use and have an effect. So that was really the challenge. We did a lot of survey by hand and so forth, and try to really put all these information into this web application. So if you are interested in doing this, you can go to the web application, create a free account, this is free. First you will be asked to characterize your collection. If you want to characterize the whole collection, it's fine. A hundred little collection you can. All those data, by the way, that you enter when you are there, they are stored and kept on the RIT data center. You have a password, of course. It's only you or somebody that gives a password to who can look at them. I can't look at them, by the way, and they are back up and so forth. In the same way as the data on eClimate Notebook are stored and preserved, the same thing. So there is a step here. Characterize the collection is basically what you have and what kind of environment you have. Assess the condition for certain material, like where acetate, you have a tool. So you will have a tool to record your data. You will be able to predict some of the future there. You will be able to make some predictions that have been put to use this color wheel and acetate storage wheel, but in a digitized version, and then make a plan because that's ultimately what it is. So basically you will be asked a few questions here, what kind of environment, what kind of material you have, and basically you build your museum there and that's under your account and it's yours. So you have a way to do a really quick preservation overview. A lot of red is not a good thing, a lot of green, it's okay, but blue it's even better, right? And nobody will have all the blue and so forth because this is where we are at. It's not because John Kennedy Library decided to have a sub-freezing storage in 1978 that everybody has it or can afford it. So it's just a goal. So based on this, you can go a little bit deeper and pick one of the collection and there on this screen, you have a few recommendations and help you to address every major problem. So what kind of problem do you can have with, if you have color material, you will have some recommendation for color dyes. If you have acetate, you will have some recommendation and you will have some link here to the other tool of the web that I will show you. One of them is, okay, you have color, you can basically play the game here and for example, okay, that's is where I am at here. Whereas this person here is pretty good shape, right? He has color storage, but let's say he was there, he could have explored, okay, what if I lower my temperature? What if I decrease my humidity? And just to get a sense of how the thing evolve and how temperature will change, it's a really, really powerful tool. If you have acetate, you have this little tool here, who basically will create a spreadsheet where you can enter all your readings. If you use AD strips, it will also tell you how many samples should I test in relation to the size of the collection based on the default confidence level that we put. It's 95% and so the idea is to help, you know, move in that direction and basically do something. I mean, also saying that this is something we have done, yeah, by hand for a long, long time, the other thing you can generate some automated reports. So it will generate this type of graph here, which is basically the distribution of your results here. And so with us, it's pretty good up to here, here is the autocatalytic point, so here is the concern, right? But in the same report, actually, you have a graph like this that tell you, okay, depending on the condition you have that you enter, here I think it was a pretty good one. Yeah, it was a 40, it's a costal rate, so 40 Fahrenheit. But it will tell you, well, in 60 years, actually, all of those here, in 60 years, actually, they will be here in the level two. And because of that, you will have a significant increase, alpha of your collection will be in trouble, okay? So that is what they help you to tell you. So it's a kind of customized approach. You can enter various ways into the tool and play with it. You can also use this particular tool here, which is the same as for the color, but for acetate. And here there is two types of numbers, right? So you move the temperature, you do some simulation there, and you can see that this one here, the 44 years, is for fresh acetate. So who is storing fresh acetate, right? Not to me, it's just an indication of the level of quality of the storage, but it doesn't reflect in any way what you have. So of course, the higher the number is, the better it is. The true number that you have to watch is what is this one. What will happen to those film who are at the auto catalytic point if you don't change in what you have? And in this particular case here, the five years here was at 74 overnight and 50% relative humidity. But if you lower the temperature, you can see, oh, I get 62 and even better, 141. So if your goal is to really ensure that all your collection made it for a few hundred years, that should be sure. That is where you have to go. So this is a tool that you should use when you apply for funding, basically. That is a tool that makes a case to really why you need a better storage for your collection. So there is a lot of other aspects, of course. The most important is, again, what do I do next once I have this number? And so there is some resources there, again, using a kind of concise format here to step by step go through and organize what you have to do, what you have to consider to move forward. And let's say for a minute, you have it. It's not finished. If you have this environment that you really wish to have, you still have to monitor what you have. And he has a lot of advantage here. For example, if you have the colder you have, for example, the less you will have to recheck your collection. That kind of makes sense. But the people who have the storage which is not suitable, actually, they should not be in this room. They should be checking the collection. OK, no, stay for a minute. But this is really what it is. So out of this, it's what we think. And again, there is only those three words to remember. And I think it sensitizes the approach. Now, he has been launched in November. So this is just a few numbers for me because I'm curious about. And so I can see that this is something like 400 people who had a free account and were looking to and so forth. And there is apparently 31 who really start surveying the collection. So this makes me kind of happy because it gives some kind of data that they do something with it. So this repetition here is not quantitative. It's just out of the 140 collection there where there was 60% who had acetate and so forth. It's kind of qualitative, but everybody has acetate and everybody has color and so forth. So there is really a real need there. So I don't want to say that famous sentence, I have a dream, but I do. And this is where we are today. When they characterize this collection, you can see that there is more than 50%. They have a normal environment like we like it where we work. But they still work to do. So the dream, yeah, is to have something will go and look maybe in that direction. And Sarah will talk about digitization. And one of the question I asked her when we were outside, and what do you do with the microfilm after they digitize? Well, they could last for a long, long time, right? And probably, but that's the next talk. So I will stop here. I will stop here. And again, thank any age who found this. A lot of interns work on this. Thank you, Jay, to test the site. Also, and many others did that. And like Barbara, Fran, Steve Wilson, and Austin and so forth. So thank you.