National Trust maintain specialised in-house departments. 7 Most heritage
management bodies can therefore be well equipped in protecting their sites
appropriately from damage. Heritage attractions often house fragile items that will need to be removed or areas in need of extra protection. 8 Therefore, assessments and inventories of the site are undertaken to effectively supervise and reinstate the site to its original condition once filming has ceased. 9 Further issues for bodies to
consider include the copyright of the artworks appearing in frame. As well as the
physical logistics of how and where the site will accommodate equipment, cast and crew. 10 Productions also bring long hours that must be accommodated for. 11 Or instead they must factor in the cost of separate film conservators that don’t detract staff from scheduled duties. 12 A breakdown of costs for larger sites could include anything from staff overtime to porters for removal services. 13 Site management
cannot overlook the minutia of working with production companies and the ultimate
benefit of the project must be considered with this in mind.
The risk of permanent damage to a site and its contents must be evaluated
and boundaries should be set between management and production crews. In recent
years changing technology and special effects have presented a potential threat. For
instance, the residue deposited on historical fabrics from Atmos/Haze, and its consequences for irreplaceable and delicate material. 14 Whereas requests for high- risk activities, such as fire or explosions, require sensitive supervision – if allowed – to ensure health and safety of the location as well as staff and crew. 15 Terms and Conditions evidence the use of deposits to insure the property and carry out any needed conservation post-filming. 16 As well as the right to terminate filming if the
7 Fry, p. 577. See also p, 580. See also The Institute of Conservation, Who we are (2023) <https://www.icon.org.uk/about-us/who-we-are.html> [accessed 11 July 2023]. 8 See also Claire Fry and Spencer Fry , Filming in Historic Houses (2020) <https://www.icon.org.uk/resource/filming-in-historic-houses.html> [accessed 11 July 2023 (p. 2). See also Fry, p. 580. For protective floor padding see Fry, p. 585.
9 Fry and Fry , Filming in Historic Houses , p. 2. 10 Fry and Fry , Filming in Historic Houses , p. 2.
11 Fry, p. 577. 12 Fry, p. 580. 13 Stephen Follows, Economics of location filming Pt2: Museums and galleries (2016), https://stephenfollows.com/economics-of-location-filming-museums-galleries/ [accessed 9 July 2023].
14 Fry, p. 579. 15 Fry, p. 577. 16 Bath Film Office, Terms and Conditions (c. 8.2) [Online] <https://www.bathfilmoffice.co.uk/sites/www.we-romanbaths.co.uk/files/2023-
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