restoration steps Modern, photochemical restoration follows roughly the same path that digital restoration does: Extensive research is done to determine what version of the film can be restored from the existing material. Often, extensive efforts are taken to search out alternative material in film archives located around the world. A comprehensive restoration plan is mapped that allows preservationists to designate elements as "key" elements upon which to base the polarity map for the ensuing photochemical work. Since many alternative elements are actually salvaged from release prints and duplication masters (foreign and domestic). Care must be taken to plot the course at which negative, master positive and release print elements arrive back at a common polarity (i.e., negative or positive) for assembly and subsequent printing. Test prints are struck from existing elements to evaluate contrast, resolution, color (if color) and sound quality (if audio element exists). Elements are duplicated using the shortest possible duplication path to minimize analog duplication artifacts, such as the build-up of contrast, grain and loss of resolution. All sources are assembled into a single master restoration element (most often a duplicate negative). From this master restoration element, duplication masters, such as composite fine grain masters, are generated to be used to generate additional printing negatives from which actual release prints can be struck for festival screenings and DVD mastering. Education The practice of film preservation is more craft than science. Until the early 1990s there were no dedicated academic programs in film preservation. Practitioners had often entered the field through related education (e.g. library or archival science), related technical experience (e.g. film lab work), or driven by sheer passion for working with film. In the last two decades universities globally began offering graduate degrees in film preservation and film archiving, which are often taught conjointly (the latter focusing more on skills related to the description, cataloguing, indexing and broadly speaking management of film and media collections). The recent years rapid incursion of digital technologies in the field has somewhat redefined the vocational scope of film preservation. In response, the majority of graduate programs in film preservation have begun offering courses on digital film preservation and digital film and media collection management. Some established graduate programs in the field are: MA in Film Archiving, University of East Anglia Film Preservation Certificate, Selznick School of Film Preservation MA in Film and Media Preservation, Selznick School of Film Preservation offered