Archival & Preservation

Archive preservation in Peru sits where today's production output meets the country's heritage media setup. Filmoteca PUCP — run by the Pontificia Universidad Católica del Perú — is the country's de facto national film archive. Alongside it sit the Archivo General de la Nación, the Biblioteca Nacional del Perú media collection, the Ministerio de Cultura archives, and the Instituto Nacional de Cultura heritage holdings. Together, these guard the visual record of Peruvian cinema going back to the early twentieth century.

For today's shoots wrapping at Cinesphere DI Lima, Tondero Post, or Audiovisual Project Perú Post, we set up LTO-9 LTFS preservation packages. Each holds up to 18TB native per tape. We keep redundant copies in two places — on-site at the finishing house and in separate climate-controlled vaults. This guards against single-location loss from earthquake, flood, or fire.

Each preservation package follows an open-format approach. That means uncompressed or lightly compressed video masters in ProRes 4444 XQ or DNxHR. It also covers BWAV audio stems, sidecar XML metadata, and full project files for the colour grade, online conform, and sound mix. This keeps the archive easy to reach even as vendor tools and licences shift over the coming decades. Checksum checks run at write time and on a scheduled recheck cycle. We log migration paths ahead of LTO formats aging out, so content moves to the next generation before legacy drives stop working.

We can also catalogue and rebuild fragmented archives from earlier shoots. We apply MAM metadata schemas, so DAFO-funded features, Festival de Lima entries, and commercial libraries can be searched, licensed, and re-issued. They go out through Movistar Play, Netflix Latin America, or global distribution without rebuilding from scratch.