Film-Tech Forum ARCHIVE: Precautions when Loaning a Film

This is topic Precautions when Loaning a Film in forum Film Handlers' Forum at Film-Tech Forum ARCHIVE.

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Posted by Adam Towill (Member # 7683) on 10-30-2018, 09:01 AM:

Hey all,

I’m looking at loaning a print to a commercial location. I’m wondering what precautions are generally taken by archives, etc. when doing the same, such as preferred couriers, shipping in one parcel as opposed to split parcels, packing techniques, insurance, condition reporting and handling requirements, etc.

If this goes well, I’ll be open to doing it more frequently, so I want to ensure it has the best chance of going well.

The print needs to go interstate in Australia, and back again afterwards. The print would be going to a trusted venue, with trusted staff and a solid track record.

Your thoughts would be most appreciated.

Thank you.

Posted by Scott Norwood (Member # 30) on 10-30-2018, 02:15 PM:

In the USA, Federal Express "Express" service (as opposed to "Ground") is generally considered to be the most reliable way to ship anything. The service is expensive, but they tend not to lose or damage things, and the packages tend to get where they need to go on time. That may or may not be the case where you are, but, if not, there might an equivalent service.

I would ship a film in whatever configuration is most common in your region and therefore least likely to cause confusion. In the US, that would be on reels in Goldberg cans (which would likely necessitate a multi-part shipment). In your area, that would probably be on cores in lab cans. Do a pre-screening and post-screening inspection and note any problems to avoid finger-pointing after the fact. This is what the LoC, UCLA, etc. do.

Edit: also, be sure that the print has proper head and tail leaders and cues and such before you ship it. That way, the theatre won't need to add them and you won't need to be concerned about them doing it wrong.

Posted by Leo Enticknap (Member # 534) on 11-01-2018, 10:32 PM:

The requirements placed on exhibitors by archives range from almost none to carrying out an inspection of the projection booth and making the venue put down a four-figure deposit against print damage.

As a lender, you basically have to make a judgment call: are you willing to take a bit of a risk in order for your movie to reach an audience, or do you require the borrower to insure you totally and utterly against the consequences of damage? My personal feeling is that if the print is one that money cannot replace (e.g. an original release IB print from the 1950s), I would be far more stringent in checking out the exhibitor than if it is one that could be replaced by writing a check (e.g. a 1990s print from a preservation dupe neg sitting on an archive shelf, that could easily - if not cheaply - be printed again).

If there is any special care that you want the exhibitor to take (e.g. not cutting the heads and tails and plattering it, or playing it in an unusual aspect ratio such as 1.66), let them know and ask them to acknowledge that they've understood.

Posted by Adam Towill (Member # 7683) on 11-19-2018, 09:30 AM:

Thank you all.

It doesn't look like it's going to end up happening, but it's certainly given me some things to consider if the possibility ever arises again.

Accessibility and visibility is a big deal for me. I don't like the idea of allowing beautiful and interesting things to be hidden away from the public eye in archives.