The traditional way of screening film is to use a positive print taken from the edited negative that was originally exposed in the camera.  In the case of your film, all its potential future prints could be taken from this master negative.  This means that if this negative has a damaged or deteriorated image, the resulting faults will most likely be passed on to the next and possibly all future prints you make.  It is important then to look after your negative and put it in storage, being careful to follow the guidelines suggested in this site.

You may also want to make and distinguish   access and reserve prints of your film or alternatively make a video copy to serve as a form of access version.  These can be useful for reference purposes and for showing in informal circumstances and allow your reserve copy to be retained in good condition, exclusively for screenings.   Formal film archives will sometimes go further than this and keep a print entirely unscreened.   This is a form of preservation insurance and is recommended if you don't have a negative.

Copies
If you wish to make further film copies of your film, you should be able to approach the lab that first processed your exposed stock.  Depending on your starting point, some more specialist or unusual film printing, however, may require going a little further a field.  Look in the resources section for details.

Transferring film to video
Recording your projected film onto video:

- Test the projector with some leader to see if it will scratch your film.  Do not use a projector that scratches.  (For information about using and looking after a projector, go to the handling section).

- Set up the projector so that the image it casts is small.  This will involve adjusting the lens and moving the projector.  You should project on to a solid white surface; high quality paper works well.

- Turn off the auto-focus on the video camera and focus the lens on the white surface.

- If your video camera has different settings (ideally a variable shutter), experiment until you get the least flicker.

You may lose a little of the edges of your film image if you transfer at home.  If you are shooting film with the primary intention of recording it on to video, you might want to slightly increase your all around framing when you shoot.

Alternatively various commercial outfits will transfer your film to video; see the resources section.  

Reversal
Exposed reversal stock undergoes a two-stage process that finishes with a positive image rather than a negative.  It also renders the colours and definition of your resulting image particularly sharp and bright.  Some filmmakers use reversal because they like this look while others possibly do so to save money.  By starting with a positive, this stock removes the need to pay for a print to be taken from the exposed negative, as would be done normally, and thus provides an understandably attractive financial saving (though it does remove the possibilities of pushing light levels at the printing stage).  It should be remembered, however, that as with a negative, once your film print is damaged it maybe irredeemable.  It is also worth bearing in mind that unlike a negative, this print can be used for screenings and in doing so faces an increase in the risk of such damages.

35mm and16mm film, and super 8 are all available in reversal forms.

Due to the prevalence of certain available super 8 stocks, it would be easy to assume that this small gauge was only available in reversal, but Kodak do in fact offer two negative super 8 films also.  Go to the resources section to check for stockists.

If you do use reversal film, you should handle your print with considerable care.  For preservation purposes, if you can afford it, you should treat this print as a makeshift negative and make a copy of it, again, using reversal stock.  By doing this you remove the need to make prints via a negative, and thus avoid the subsequent deterioration in picture quality inevitable from continued copying.