The aim of the present research was to study how the adaptation of traditional photochemical film laboratories to digital techniques is taking place through the analysis of preservation and restoration policies, restoration, costs with the purchase of new equipment and migration to new media at the British Film Institute (BFI), Svenska Filminstitutet (SFI), Eye Filmmuseum, L’Immagine Ritrovata and ANIM – Cinemateca Portuguesa. For this purpose, the case study method was used, in which interviews were carried out with managers and technicians of the institutions mentioned in order to answer the research problem that arises with this question: what is the impact and what are the implications of this adaptation and also what are the results achieved with the new equipment and methods of restoration and preservation? For this, the study was divided into two parts. In the first part, interviews are applied to SFI, BFI, Eye and L’Immagine Ritrovata in order to obtain data that would form a more complete and in-depth interview. Subsequently, this more detailed interview was applied to only one institution, the Cinemateca Portuguesa. Therefore, in the second part of the case study, interviews were carried out with technicians and managers of ANIM – Cinemateca Portuguesa and its partner laboratories. The analysis of the results includes all the information coming from the five interviewed institutions. It was noted that the adaptation did indeed bring improvements in the preservation and recovery of the photochemical material but this also brought some dilemmas to the laboratories. There is concern about the material scarcity of the photochemical workflow and its hypothetical end in the near future, as there is still not enough knowledge about the digital workflow and the behavior of these media in the coming years, however the respondents are positive regarding the digital technologies.