of weather, but the grating was over a shaft so it never rained in there, it never snowed in there. And the successive wrappings on these paper rolls protected them. Each time it was wrapped around, the picture underneath was protected. Walls recruited a National Archives motion picture engineer, pioneer cinematographer Carl Louis Gregory, to help get the movies back into shape for screening. Gregory observed the fragile state of the paper, some of which had sprocket perforations punched through. Sprocket holes or not, the paper could never travel through a projector or automated printer without being shredded. Gregory designed a system that adopted many of the traits involved with shooting animation in that era. Modifying a process optical printer, he was able to exchange sprocket heads and pull down pins that were necessary to advance the film and yet not tear it to pieces. An adjustable aperture plate was added to frame images that had been produced by a variety of cameras without any uniform standardization. The transfer of the paper prints was done at one exposure setting without any consideration for the variations in image density of the negative, so Gregory adjusted his lighting that reflected off the print to maximize the information captured to a new film negative. There is no record of the film format used to recapture the paper prints. The war years interrupted plans to migrate more films. Later, Howard Walls would devote his time primarily to the Academy of Motion Picture Arts and Sciences and would try to initiate a program to rescue the paper prints at the Library. Nothing seemed to get beyond the fundraising stage, though, as Walls was enveloped in management intrigue and other responsibilities to the Academy. Second effort at reformatting The Academy did take up Walls' cause, but only with his departure in 1953. The real work began with Kemp R. Niver. For roughly a decade, the former filmmaker migrated over two million feet of films from paper. He established the Renovare Company and process (“to restore” in Latin) and with initial funding from the Academy (later funding would be private and then by congressional appropriation), Niver unwound film history. He also wrote a good amount about this program. As mentioned, the filmmaking process had not been standardized. In fact, many manufacturers purposely avoided the exact workings of Edison's well-regarded Kinetograph, thereby avoiding infringement, while copying the essential