The loss is not the drive. It is the shoot day, again.Founded by an Emmy-nominated television editor.
Negative film, videotape and digitized image coverage — with faulty stock, camera and processing — pays the cost of reshooting when the footage itself is lost or unusable.
Tell us the situation.
One licensed human replies the same business day — not five agents, not an auto-responder. If the policy you have is already the right one, we will tell you.
We use this to quote and service your insurance, and we do not sell it or pass it to lead networks. Privacy policy.
We were editing television long before we were insuring it.
Kevin Kelsey
Founder | Principal Agent
IATSE Local 700 member
Boring’s founder, Kevin Kelsey, edited television for fifteen years before he sold a policy. He was Emmy-nominated for The Muppets Mayhem, cut Shark Tank, Big Brother, Dancing with the Stars and Wheel of Fortune, and handled compliance and risk for some of Hollywood’s largest production companies. So the person building your coverage has been on a crew list, dealt with the permit offices, and met network and streamer requirements from the production side, rather than working from a rate manual. He also builds post-production software. Manifest Post is the board episodic post teams use to track every episode, and B/side is a video editor for people who cut together. He holds a number of patents on that software. So he knows the post side of a production as a vendor to it. We insure productions from Los Angeles to Atlanta, New York and Toronto, with worldwide and foreign production coverage.
The work is placed with the markets that actually write film, television and live entertainment — Zurich through ISC Entertainment (formerly Abacus), Philadelphia Insurance Companies, Take1 and Alive Risk — rather than with a general small-business carrier asked to try.
Send us what you have. We’ll tell you if it’s right.
Your current policy paperwork, a renewal notice, or nothing at all. A licensed agent reads it and replies the same business day.
What negative film and faulty stock actually covers.
Lost or damaged media
Physical loss of the recorded material before it is delivered.
Without it — A stolen or corrupted card means the day is shot again at your cost.
Faulty stock, camera and processing
Footage rendered unusable by a fault in the media, the camera or the processing.
Without it — A sensor or codec fault discovered in post is a reshoot the base property coverage does not touch.
Where negative film and faulty stock shows up.
- Film & Entertainment
A card fault or a processing error does not cost you a drive, it costs you the shoot day again.
- Feature Films
Loss or damage to the footage itself, which has no replacement cost and cannot simply be reshot cheaply.
What clients with negative film and faulty stock ask us.
Does it cover operator error?
Generally no, and that is the line to understand. The form responds to a fault in the stock, the equipment or the processing, not to someone forgetting to hit record, misjudging exposure, or wiping a card. Broad form extensions widen it somewhat; human error remains the main exclusion.
Commercial insurance is 96% of what we do — it is not a department here, it is the whole business. Not ready to talk? The guides answer the questions this page raises in more depth. Already insured with us and need a certificate or a policy change? Ask the service team rather than starting a quote — it is faster and it goes to the people whose job it is. We also write home and auto, which is usually cheaper alongside the business policy than apart from it.
Handed a lease, a vendor packet or a client contract with insurance requirements? Paste it into the COI Requirements Decoder to see what each one means for your business, or read what the requirements mean.