What the Hell is an Archival Assistant?
First I read the show’s script to I can generate a list of archival material that might be needed for the show. Next I get an archival wish list from my producer. The producer’s wish list is just as it sounds… a list of archival material that the producer would love to have in the show. 9 out of 10 times the list is comprised of really stupid non-existent things that look good in the producer’s head. I once got a request from a producer fro earthquake footage… simple right, but not really. It had to be footage of an earthquake in Egypt (Alexandria Harbor to be exact) in the year 1400 BC… Eh yeah now how can there be film of something that happen um like forever before cameras were even invented? And believe it of not, but some producers will get mad if you can’t find it (but this producer was nice). So I start searching stock footage film companies, and historical organizations. Because the History Channel is super cheap it is also my job to keep the total archival budget under $10,000 (which isn’t a lot to work with). The best situation would be if I could find free material that the producer likes. For free stuff I usually go to government groups like NARA, NOAA, or LOC. Bust not everything is in the public domain so next I search the stock houses. My favorite and always first stop is Streamline Films (Rick DeCroix is the best and he gives candy when you order a master). A cheap (and for us good) rate is $15-$25 per second. A medium rate is $30-$45 per second, and really expensive (which we will only pay this if the footage is crucial and can’t be found anywhere else and there is no way I can negotiate a better rate) is $50+ per second… and by + I am talking 450 euros a second. Well after I find footage and stills I order screener tape (low quality with watermarks copies) and have them sent to the editors to well edit the show together. After the editors have a rough cut (first draft) of the show it’s my job to read the EDLs (edit decision list). The EDLs are a hard copy print out of every shot in the show, and the time code for when the shot begins and end. I then estimate the cost to licensing all of the archival material in the show. Hopefully after all of that the editors will have a fine cut (second draft) ready to send into the History Channel for program notes. Then after the editor makes the final adjustments to the show from the History Channel’s notes I get another EDL and copy of the picture locked show. This is when the fun stuff happens. I have to sort all archival material by source. Then I have to go through each clip, shot by shot to make sure that the image listed in the EDL at any given time code matches the original screener tape. Next I have to order masters (broadcast quality copies of the screener tapes). After all the masters have been ordered I have to licensing all the archival material. Since working at LWDG I now know more about copyright laws than anyone would ever want to know. After all that’s said and done… sometimes I have to put together the rights bible (proof to the History Channel that we have all the rights they ask fro, for one of their shows). The Rights Bible consists of all the releases (personal, location, and material), all the licensing agreements, and a copy of the credits, music cue sheet, and a copy of the script. So to sum up my job… I search for archival material (footage and stills), I obtain the rights to use the archival material (if I don’t know who owns the rights I then have to do research until I find out), and then I have to prove to the History Channel that I did my job correctly. Now I am not the only person who does this kind of work… I’m just the only person in house, which does only archival. So I get a lot of phone calls asking for help and copyright issue questions also. Well that’s what I do in a nutshell.