Film
1. GENERAL INFORMATION 
DURATION HOURS/MINUTES/SECONDS/FRAMES for film it is also useful to provide the FOOTAGE as this is how the film laboratories will cost any work done. 
At 24 frames per second (fps) the footage for 16mm film is approximately 36 feet per minute.  

ASPECT RATIO
•	1:33 (standard 16mm)
•	1.67:1 (Super 16mm)
•	Anamorphic
•	Other (please specify):

ARTWORK CHANNEL INFORMATION For example for a multi-channel work please state which channel this component relates to e.g. 1/3 etc

AUDIO
•	Mono
•	Mute
•	Other (please specify)

COLOUR
•	Colour
•	B&W
•	Other (please specify) – for example there may be a mix of colour and black & white sections

2. COMPONENT INFORMATION

GENERAL DESCRIPTION
•	Combined colour positive (print with sound which might be optical or magnetic)
•	Colour positive (mute)
•	Inter-negative
•	Inter-positive
•	Negative
•	Reversal positive (in this process the film is processed to produce a positive image directly and without a negative this process was available from 1955 and was used in the production of some artists films from the 1970s)
•	Other
2a. COMPONENT STATUS
State whether the component is:
•	Artist or Gallery supplied master
•	Archival master produced by own institution or collection
•	Exhibition format material supplied by the artist or gallery to be used as a reference
•	Exhibition format 
•	Reference or viewing copy
•	Other: Please specify
2b. FORMATS & RELATED INFORMATION :
FILM GAUGE
•	8mm
•	Super 8mm
•	16mm
•	Super 16mm
•	35mm
•	Optical sound 
•	Sound negative
•	Other (please specify)

NEGATIVES and POSITIVES
•	Number of reels of negative
•	Number of reels of positive
•	FILM BASE
o	Nitrate
o	Acetate
o	Polyester
o	
•	 STOCK
o	Kodak (see http://www.kodak.com/US/en/motion/16mm/products/?id=0.1.4.5&lc=en for details of current Kodak film stocks)
o	Fuji (see http://www.motion.fuji.co.uk/motionproducts/index.html for details of current Fuji film stocks)
o	Other (please specify)
PRODUCTION METHOD
•	From a single negative
•	From an A and B roll negative
•	Reversal
•	Other (please specify)
AUDIO FORMATS FOR FILM : 
Common formats
•	Digital formats (DAT, computer files etc )
•	Optical sound negative – polyester  or acetate
•	Magnetic track  
•	Other (please specify)

2c. PRODUCTION HISTORY: State what the component was made from. If it was made from a component that you hold please state its component number, if it was made from a component made by the artist or gallery please give details of the production of the work and what this component was made from.  
DATE THE COMPONENTS WERE MADE
WHERE MADE Provide details when known of:
•	The Film Laboratory used:
•	The grader (if known)
•	Who has checked the material

NOTES This is useful for any specific notes about a component for example whether it has French sub-titles  

2d. CONDITION ASSESSMENT 
AGE OF COMPONENT No of years
OVERALL CONDITION ASSESSMENT
•	Poor
•	Good
•	Excellent 

	…………………………………………………………………………………………………………………………

CONDITION   
•	Shrinkage
•	Mould
•	Results of a/d strip testing (if applicable. For more details see http://www.imagepermanenceinstitute.org/shtml_sub/cat_adstrips.asp)
•	Dirt and oil – describe the condition
•	Problems from faulty processing such as chemical damage
•	Picture Quality – look for example at contrast and grading

•	EMULSION
o	Scratches to the emulsion – describe the severity for example, light fine scratches, continuous, intermittent, scratches consistent with heavy wear and tear, deep scratches which allow light to pass, damage which seriously affects the viewing experience.

•	BASE
o	Scratches ( range of descriptions as with ‘emulsion’ with the addition of ‘deep scratches which project as black’

•	PERFORATIONS
o	Slight projection wear
o	Repairable damage
o	Repairable split/pulled perforations
o	Projection slip in several places but not continuous
o	Severe sprocket damage making repair impossible. 

•	SOUND  
For non-film sound components such as magnetic tracks and digital masters please see condition prompts for audio. 
o	Numerous pops and noisy
o	Distortion
o	Sync problems 

3. ASSESSMENT OF RISKS
RISK ASSESSMENT FOR FILM

For more information about the preservation of film please see 
http://www.filmpreservation.org/
http://www.imagepermanenceinstitute.org/shtml_sub/dl_pubdownloads.asp

Consider risks associated with:
•	The deterioration of film
•	The obsolescence of film 
•	Risks associated with inadequate holdings, for example not holding the material needed for the production of prints
•	Risks associated with the lack of good documentation, especially regarding the status of material.