19 tasks, each one witnessed by the sources that watched the job — and behind every one, a prompt you can use tonight.
You’ll split time between hands-on film work and desk tasks. Mornings often start in the preservation lab: inspecting reels, cleaning film, and doing small repairs with splicing tape or solvent. Afternoons go to cataloguing or metadata — entering titles, dates, formats, and condition into systems like Microsoft Access, Excel, or a collections database.
You’ll also answer reference requests, help researchers locate prints in the stacks, and plan digitization jobs (scanning or telecine). Some days include outreach: leading a tour, prepping a display, or coordinating a workshop.
Expect Microsoft Office every day: Outlook for email, Excel for inventories and condition reports, and Access for catalogue records if your institution uses it. For images and simple frame work you’ll use Adobe Photoshop or Creative Cloud apps to clean stills.
When creating metadata you’ll use XML (Extensible Markup Language) or other standard formats to build finding aids and share records. For digitization you’ll work with TIFF or uncompressed video files, and you’ll log everything in your database.
AI can speed metadata creation and subtitle or speech-to-text for access copies, but never replace human verification. Use AI to generate draft descriptions from digitized files, then check facts, dates, and rights before publishing.
Do not use AI for conservation decisions. Physical repairs, chemical treatment, and appraisal require trained staff. Also keep originals offline and control who can access digitized masters to prevent accidental distribution.
Those figures cover archivists broadly; museum, government, or corporate roles and location affect pay. Grants, freelancing on digitization projects, or supervising staff can increase income.
A bachelor’s in film studies, library science, archival studies, or media conservation helps. Practical courses in film handling, preservation, and cataloguing are most useful; many programs offer lab classes where you learn splicing, cleaning, and basic conservation.
Volunteer or intern at a local archive or film lab. Learn Microsoft Office, Excel, and basic Photoshop, and practice creating simple XML metadata. Entry roles often start as assistant archivist, technician, or digitization operator.
A film archivist focuses on preserving, cataloguing, and providing access to collections. Tasks include appraisal, creating metadata and finding aids, legal/ethical work, and coordinating digitization and public outreach.
A curator selects and designs exhibitions or programs, often using archives. A restorer concentrates on technical repair and image/ sound restoration. In smaller institutions one person may wear all three hats, but the roles emphasize different skills.
Attention to detail and steady hands are key; you’ll clean, repair, and inspect fragile materials daily. Practical skills with cataloguing (Excel, Access), basic Photoshop for stills, and knowing XML for metadata are very valuable.
Also develop communication skills: you’ll help researchers, write finding aids, and lead outreach. Learn archival theory and legal/ethical basics so you can appraise, authenticate, and manage access properly.