Question 1

What is Film Preservation Lab and what exactly do you do?

Accepted Answer

We're a film digitization lab focused on preservation-grade archival scanning. We take physical film — Super 8, 8mm, 16mm, and 35mm safety film — and convert it to high-quality digital files using frame-by-frame sprocketless scanning. Every reel is inspected, cleaned, scanned, color-corrected, and returned to you along with your digital files. We also scan VHS, photos, and slides for customers with mixed collections, but film is our primary focus.

Question 2

How are you different from Legacybox, Capture, or EverPresent?

Accepted Answer

Three main differences. (1) Scanning method: Legacybox and Capture use projector-to-camera transfer; we use frame-by-frame sprocketless scanning, which captures each frame individually at full resolution. (2) Never outsourced — every reel is scanned in our lab, start to finish. (3) Damaged film: sprocketless transport scans film that conversion services reject — vinegar syndrome, shrinkage, brittle splices. EverPresent uses similar scanning technology — the main difference is pricing (we're typically 30% below their professional tier for equivalent output).

Question 3

What film formats do you scan?

Accepted Answer

Motion picture film: Super 8, 8mm (standard 8), 16mm, and 35mm safety film (acetate and polyester base). Silent and sound variants of each. We also scan VHS, VHS-C, S-VHS, MiniDV, Hi8, Video8, Digital8, Betamax, and U-matic. Plus photographs (prints, slides, negatives, large format, photo albums). We do not currently handle nitrate-base 35mm (pre-1952), 65mm/70mm, or other non-standard historical gauges.

Question 4

Where are you located? Is the work done in-house?

Accepted Answer

All scanning work happens at our lab — your film is never outsourced, never shipped overseas, and never handed off to third parties. We ship and receive film through FedEx and UPS commercial accounts, with full tracking and insurance throughout. This is genuinely different from how many mail-in services work. Legacybox, for example, is a consolidator — they collect orders and route them to a network of facilities. At FPL, everything happens in one place.

Question 5

How quickly can I get started? Is there a minimum order?

Accepted Answer

You can start right now. Use the wizard on our start page for an instant estimate, or send an inquiry if you'd prefer to describe your collection first. The order minimum is $150 for film orders, $85 for tape-only, and $85 for photo-only. Below the minimum, we offer a tier upgrade first; if declined, we top up to the minimum with an honest line item.

Question 6

What does the estimated total cover?

Accepted Answer

It covers every charge on your order: per-foot scanning, handling & prep fee, inbound shipping estimate, and return shipping. If you add USB or hard drive delivery, that's shown in the same breakdown. The only variable is damaged-film surcharges, which depend on physical inspection after we receive your film. If surcharges apply, we quote them before scanning — you decide whether to proceed. Final total locks at intake.

Question 7

Why is the handling fee separate from the per-foot rate?

Accepted Answer

Because rolling it into the per-foot rate would overcharge larger orders. A 6-reel order has the same intake, inspection, and packaging workload as a 50-reel order — the per-foot time scales only with the actual scanning. A flat per-order fee makes the pricing fair at every order size. The handling fee covers individual reel inspection, barcoding, condition report, cleaning supplies, splice repair materials, new leaders, return packaging, and shipment preparation.

Question 8

What does a typical Super 8 order cost?

Accepted Answer

A typical 6-reel Super 8 order (about 300 feet) runs roughly: ~$179 estimated total at Access tier (2K H.264), ~$310 estimated total at Preservation tier (2K ProRes 422 HQ — the default recommendation), ~$610 estimated total at Archival tier (4K DPX + ProRes 4444). Larger collections scale down per-foot — a 20-reel Preservation order (1,000 ft) runs about $1,400 estimated total. For your specific reel count and tier, use the wizard.

Question 9

Do you offer volume discounts?

Accepted Answer

Film: a 15% bulk discount automatically applies to footage above 2,000 ft on a single order. Institutional orders over 1,000 feet get custom quotes with volume pricing, and the handling fee is typically waived at that scale. Photos: orders of 2,000+ units use a custom workflow with project-specific pricing. We don't offer general volume discounts on smaller consumer orders — our per-foot rates are already the lowest we can sustainably charge at our quality level.

Question 10

When do I pay? And how?

Accepted Answer

Payment is processed through Stripe at order confirmation — before you ship your film. You see the exact estimated total (scanning estimate + handling + shipping) and confirm it before payment. If your actual footage at intake differs from your estimate by more than a trivial amount, we contact you before scanning to confirm the adjustment. Institutional buyers have Net-30 payment terms available with a purchase order. We accept all major credit cards, ACH, and PayPal through Stripe.

Question 11

What if my film is damaged — is there an extra charge?

Accepted Answer

Standard damage — vinegar syndrome stages 1–2, shrinkage up to ~1.5%, brittle splices, edge damage — is handled at no surcharge. Sprocketless transport is designed for it. If a reel requires extensive additional care (vinegar stages 3–4, hand-repair of many splices, severe brittleness), there's a per-reel surcharge quoted individually after inspection. We quote any surcharge before scanning — you decide whether to proceed. If your film genuinely can't be scanned safely, you pay nothing beyond inbound shipping and we return it with a condition report.

Question 12

How do I ship my film to you?

Accepted Answer

We send you a prepaid FedEx or UPS shipping label through our commercial account. You pack your film per our short packing guide, attach the label, and drop it at any FedEx or UPS location or schedule a pickup. The label is generated at your ZIP code through our commercial account — which runs 20–30% below retail shipping rates. You pay exactly what the carrier charges us. Every inbound shipment includes $500 declared value insurance automatically.

Question 13

Why do inbound and return shipping work differently?

Accepted Answer

Because we control one side of the equation and not the other. Inbound depends on where you are, how much film you send, and what kind of reels it's on. We can't flat-rate inbound without overcharging light shipments or taking a loss on heavy ones. At-cost means you pay exactly what FedEx or UPS charges us. Return is different: we pack the return box, so we know exactly what's in it and what it weighs.

Question 14

How much is return shipping?

Accepted Answer

Return shipping is at-cost on FedEx/UPS commercial account, with insurance bundled at the greater of order value or $2,500. Typical return shipping ranges $18–38 depending on package weight and destination. All return shipments are insured and tracked. Original film is always returned.

Question 15

Do you ship outside the US?

Accepted Answer

Yes, with a few caveats. We handle Canadian and Mexican orders routinely. For other international shipments, customs documentation adds a few extra days to both legs of the trip, and import duties at the destination country are your responsibility. For international customers, send an inquiry before placing an order — we'll confirm the shipping approach, insurance options, and any country-specific considerations upfront.

Question 16

What if my film is lost or damaged during shipping?

Accepted Answer

Every shipment, inbound and outbound, is insured through FedEx or UPS — $500 declared value at minimum, higher for estates and large collections. Shipping is tracked door-to-door. If a loss or damage claim needs to happen, we handle it with the carrier on your behalf. Carrier losses on tracked, insured shipments are extremely rare.

Question 17

How long does digitization take?

Accepted Answer

Standard turnaround from arrival at our lab to digital delivery: Super 8, 8mm, 16mm consumer orders 3–5 weeks. 35mm orders 4–6 weeks. Institutional and large professional projects usually 4–8 weeks. Rush service is available at +35% (10 business days) or +60% (5 business days), subject to scanner availability. We confirm rush availability at order submission, not just at quote.

Question 18

What happens after I place an order?

Accepted Answer

Four phases. (1) You ship: we send a prepaid label, you pack and ship. (2) Intake: every reel is inspected, barcoded, and logged; we send a condition report within a few days of receipt, including any surcharges. You approve before scanning. (3) Scan: sprocketless frame-by-frame at your chosen tier, color correction, audio capture if applicable, QC pass. (4) Deliver: digital files via Vault link (or USB/hard drive), original film returned via insured shipping. You get email updates at intake, when scanning begins, and when delivery is ready.

Question 19

How do I know what's happening with my order?

Accepted Answer

You get email notifications at key milestones: inbound tracking confirmation, intake completion with condition report, scanning start, and delivery ready. Between those milestones, work is happening but there's nothing to report — we don't send filler updates. If you have a specific question mid-project, just email us. Replies typically arrive within one business day.

Question 20

What's in the condition report you send after intake?

Accepted Answer

A basic condition report (every tier) covers: reel count vs expected, general condition per reel, any damaged-film surcharges we recommend, and any reels that can't be scanned safely. Full condition report (Preservation+) adds per-reel footage measurements, deterioration type, splice count, repairs needed before scanning. Detailed archival report (Archival) adds visual condition photographs, emulsion vs base assessment, frame-accurate notes, and chain-of-custody documentation.

Question 21

Can you speed things up if I need them faster?

Accepted Answer

Yes, rush service is available in two tiers: 10-business-day turnaround at +35% surcharge, or 5-business-day turnaround at +60% surcharge — applied to the scanning total. So including shipping, the 5-day option puts you at 2–3 weeks total vs 3–5 weeks for standard. Rush is subject to scanner availability — busy periods may not accommodate rush orders. We confirm rush availability at order submission, not at quote.

Question 22

Can I cancel or modify my order after placing it?

Accepted Answer

Before we receive your film: yes, easily — full refund. After we receive your film but before scanning begins: yes, with a $40 intake fee for inspection and return shipping. Full refund beyond that. During scanning: scanning charges are committed, but add-ons can be cancelled or adjusted. Tier downgrades and upgrades are possible if scanning isn't complete. After delivery: refunds aren't available for completed work, but if you're unhappy with quality, let us know — we address quality issues directly.

Question 23

I'm not sure what format my film is. How can I tell?

Accepted Answer

The easiest way is to measure the film width with a ruler. Super 8 and 8mm are both ~8mm wide — Super 8 has smaller, more rectangular sprocket holes and a larger image area. 16mm is ~16mm wide (roughly 5/8 inch). 35mm is ~35mm wide (roughly 1 3/8 inch). Or send us a photo of the film at close range and we'll tell you. If you're stuck, use the inquiry form instead of the wizard — we'll identify the format at intake and charge the correct rate.

Question 24

My film smells like vinegar. Can it still be scanned?

Accepted Answer

Almost always yes. The vinegar smell is vinegar syndrome — acetic acid released as cellulose acetate film base decomposes. It's a progressive deterioration, but even fairly advanced vinegar syndrome is scannable with sprocketless transport. Film that a conversion service would reject ("too damaged to transfer") scans cleanly for us in most cases. Vinegar syndrome also gets worse over time and can spread to adjacent reels. If you've noticed it, digitizing soon is wiser than waiting.

Question 25

My film has mold on it. Is it ruined?

Accepted Answer

Often it's recoverable, depends on extent. Surface mold on reels stored in damp basements is usually manageable — careful cleaning removes it without damaging the emulsion. Mold that has penetrated the emulsion is harder and sometimes results in lost detail. If your film has mold, store it in a cool, dry location (not sealed plastic) and send us an inquiry with photos. We do not handle film with active, wet mold growth — that requires conservation treatment beyond our capabilities.

Question 26

Do I get my original film back?

Accepted Answer

Yes, always. Every original reel is returned via insured tracked shipping, in the same condition we received it (minus any damaged splices we hand-repaired to allow safe scanning). Some customers ask if we'll dispose of film after scanning. We recommend against that. The digital file is a reference copy — the original film is the historical object. Store it in a cool, dry place and it will outlast the hard drive the digital file is on.

Question 27

I have a box of mystery reels from a relative. What do I do?

Accepted Answer

This is extremely common. First: don't open reels you don't have to, and don't play them on an old projector before they're inspected — a brittle reel can shatter on a projector gate. Use the inquiry form (not the wizard) and tell us what you have: how many reels, any labels, approximate dates, rough reel sizes. We respond within one business day with rough pricing and next steps. For large mystery collections, we can do a small initial scan — a single representative reel — so you can see what you have before committing to the full collection.

Question 28

What if you can't scan my film at all?

Accepted Answer

This is rare — sprocketless transport handles film that most services reject — but it does happen. The threshold is usually severe brittleness where film physically cannot be run through any transport without breaking, or extreme physical damage like missing emulsion across large sections. When we determine film cannot be scanned safely, you pay only inbound shipping. We return the film with a written condition report. For severely deteriorated collections, we may recommend conservation treatment through a specialist before any scanning attempt.

Question 29

What file formats do you deliver?

Accepted Answer

Depends on tier. Access: H.264 MP4 at 2K — plays anywhere, easy to share. Preservation: ProRes 422 HQ master at 2K (for editing and archival) + H.264 MP4 access copy. Archival: DPX sequences or 16-bit TIFF at 4K + ProRes 4444 XQ alt master + ProRes 422 HQ working master + H.264 MP4 access copy. Professional and institutional clients can request specific output specs (EXR, Cineon, IMF packages, custom SMPTE targets).

Question 30

How do I receive my digital files?

Accepted Answer

Default: Vault link, valid for 1 year (free with every order). Optional add-ons: USB drive ($65 — $189 by capacity), hard drive, or BYO drive at $45 loading fee. For institutional and large professional orders, we also support secure file transfer to your servers and LTO-8 tape archival storage.

Question 31

Should I get 2K or 4K?

Accepted Answer

Depends on the format. Super 8 / 8mm: 2K already captures essentially all the real image detail — Preservation tier (2K ProRes) is the default recommendation. 16mm: 4K starts to matter for color-critical work or post-production; Preservation is fine for most family/amateur, Archival worth it for documentary or professional. 35mm: 4K is usually the right answer — Archival tier is the default. Beyond resolution, tier also affects color correction depth, cleaning level, and output format.

Question 32

Is color correction automated or does a human do it?

Accepted Answer

Depends on the tier. Access: automated basic correction (white balance, exposure). Preservation: scene-by-scene manual correction — a colorist reviews each scene/reel and adjusts for consistency, exposure, and color accuracy. Archival: full color-managed graded pass — log/ACES pipeline with critical attention to color recovery (especially useful for faded Ektachrome, Eastman Color). Automated correction on faded film usually gets 70% of the way; the remaining 30% is the work that makes the scan feel preserved rather than just digitized.

Question 33

Do you really offer a free pilot scan?

Accepted Answer

Yes, for institutional inquiries — no fee, no commitment. Send 50–100 feet of your most at-risk reel. We scan at your target FADGI tier, deliver a written condition report, return both scan files and original film, and provide a structured quote for the balance of your collection. Turnaround is 10 business days. It's not a sales pitch — we expect you to evaluate the output against your spec, compare against other vendors, and make the decision that best serves your collection.

Question 34

Are you FADGI compliant? At what level?

Accepted Answer

Our Preservation tier meets FADGI 3-star specification. Our Archival tier with the documentation package (+$150/project) meets FADGI 4-star — the level required for most NHPRC-funded projects and rigorous institutional archives. A full compliance certificate and technical metadata documentation package are provided at Archival tier + FADGI add-on, suitable for grant reports and audit documentation.

Question 35

Can you help us apply for an IMLS, NEH, or NHPRC grant?

Accepted Answer

Yes, and this support is free — it's part of building institutional relationships that last across funding cycles. We provide: vendor pre-identification letter (drafted within 48 hours), technical section drafting (we write the digitization methodology section; you edit and integrate), budget template with line-item justification, scope assessment (pre-application review of your collection), and post-award support (project kickoff and reporting alignment).

Question 36

Do you provide chain-of-custody documentation?

Accepted Answer

Yes, at Archival tier. Chain-of-custody documentation includes per-reel barcoding, intake photography, condition logs, operator/workflow timestamps, cleaning and repair records, QC pass records, and close-out summary. Everything is produced as a structured document package delivered with your final files. For high-sensitivity collections, we can execute project-specific NDAs and restrict internal access to specific operators.

Every common question, answered.

General questions

Pricing questions

Shipping questions

Process & timeline questions

Your film questions

Output & files questions

Institutional questions

We respond within one business day.

Every common question, answered.

What is Film Preservation Lab and what exactly do you do?+

How are you different from Legacybox, Capture, or EverPresent?+

What film formats do you scan?+

Where are you located? Is the work done in-house?+

How quickly can I get started? Is there a minimum order?+

What does the estimated total cover?+

Why is the handling fee separate from the per-foot rate?+

What does a typical Super 8 order cost?+

Do you offer volume discounts?+

When do I pay? And how?+

What if my film is damaged — is there an extra charge?+

How do I ship my film to you?+

Why do inbound and return shipping work differently?+

How much is return shipping?+

Do you ship outside the US?+

What if my film is lost or damaged during shipping?+

How long does digitization take?+

What happens after I place an order?+

How do I know what's happening with my order?+

What's in the condition report you send after intake?+

Can you speed things up if I need them faster?+

Can I cancel or modify my order after placing it?+

I'm not sure what format my film is. How can I tell?+

My film smells like vinegar. Can it still be scanned?+

My film has mold on it. Is it ruined?+

Do I get my original film back?+

I have a box of mystery reels from a relative. What do I do?+

What if you can't scan my film at all?+

What file formats do you deliver?+

How do I receive my digital files?+

Should I get 2K or 4K?+

Is color correction automated or does a human do it?+

Do you really offer a free pilot scan?+

Are you FADGI compliant? At what level?+

Can you help us apply for an IMLS, NEH, or NHPRC grant?+

Do you provide chain-of-custody documentation?+

We respond within one business day.