Bill Banks's Hollywood Stills Available at Producers Library

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Back in Hollywood's heyday of the 50s and 60s, legendary photographer and cinematographer Bill Banks captured all the glitz and glamor of the stars at their premieres, industry events, and all-night parties. Producers Library exclusively represents Banks's collection and is now making more than 1,000 still photographs of Hollywood available for licensing. Banks's work is brimming with candid shots showing Jerry Lewis cracking up Frank Sinatra, Richard Nixon and Bob Hope comparing noses, and Don Rickles hamming it up.

In addition to those funnymen, Banks managed to capture Jayne Mansfield in her usual stunning form and comically chowing down on a slice of pizza, along with the odd couple of Kim Novak and Vampira dining together at the Beverly Wilshire Hotel. Banks also shot numerous photos of beloved African-American entertainers such as Nat King Cole, Johnny Mathis, Pearl Bailey, Louis Armstrong, and Lionel Hampton palling around with guests. Tony Curtis and Janet Leigh, JFK, Anthony Quinn, Doris Day, John Wayne, Liberace, Conrad Hilton, Charlton Heston, Robert Wagner... the list of celebrities that Bill Banks photographed is seemingly endless.

Whether it was snapping photos of the 30th annual Academy Awards arrivals at the Pantages Theater in the heart of Hollywood, the world premiere of Peyton Place at the Beverly Theater or wild partygoers in garish costumes at the annual Halloween bash thrown by Sy Devore, "the man who dressed the Rat Pack", Banks documented everything the era had to offer.

The black and white and color negatives have been digitized to 1200 DPI and now join Producers Library’s vast archives of Hollywood and entertainment history.

For information on licensing, pricing and to view the clips, contact via research@producerslibrary.com or 818 752 9097.

Reelin' in the Years Moves Into Photos

Pete Townsend

Pete Townsend

After decades of exclusively dealing with footage, Reelin’ in the Years has expanded their business to include photos (strictly pertaining to music-related artists). While opportunities to rep music-related photos have come up throughout their 20-year history, RITY always turned them down, opting to focus on footage. Their views changed recently when they were offered a number of stunning photo archives to represent, and, based on their vast knowledge of music and the size of their existing footage archive, they realized that they were in a unique place to offer both footage and photos.

Currently, the RITY photo archive is quite extensive, spanning the 1950s - 2000s, and will be growing rapidly as they are add more and more images from world-class photographers. Additionally, they’re working on launching an online database where customers will be able to view and download low-res photos. In the meantime, please send requests for projects directly to nnn. If they have photos that fit your needs they will send you lo-res watermarked copies free of charge. Stay tuned for more news over the next few weeks.

Now Streaming: The Inventor - Out for Blood in Silicon Valley

The Inventor: Out for Blood in Silicon Valley, premiered on HBO this past Monday, March 18. The film, produced and directed by Alex Gibney, tracks the rise and fall of the biomedical company Theranos and its charismatic founder Elizabeth Holmes, who sold the world on the idea that hundreds of tests could be performed on a single drop of blood, taken painlessly by finger stick and analyzed automatically using a proprietary testing device called the Edison.

About the size of a microwave oven, the Edison was designed to be deployed locally to pharmacies, doctors' offices, and, ultimately, private homes, allowing people to obtain regular, low-cost screenings for all manner of disease. Theranos would upend the medical testing industry and become the Apple of health screening. It was an audacious plan with a huge potential upside.

With this story in hand, Holmes secured nearly $900 million in venture capital and packed her board with big names like Henry Kissenger, George Shultz and General Jim Mattis. By 2014, the company had grown to 800 employees and reached a value of nearly $9 billion, making Holmes, its largest shareholder, the world’s youngest self-made female billionaire.

The only problem was that the Edison never really worked and, following the publication of John Carreyou’s investigative report in the Wall Street Journal in October 2015, the company’s failures, and Holmes’s elaborate efforts to hide them, were becoming widely known. By 2018, Theranos was out of business and Holmes, along with Sunny Balwani, the former president of Theranos and Holmes’s boyfriend, were charged with multiple counts of fraud by the Department of Justice.

Gibney makes excellent use of existing footage of Holmes prowling the halls of Theranos’s glass-walled office building, as well as clips from her countless public appearances. Again and again, we hear her lay out her vision for the company - from the TED stage, in media appearances, in corporate pep-talks, even sitting for a promotional video directed by documentary filmmaker Errol Morris, in which she quotes Yoda - “there is no try, there is only do.”

Throughout the film Holmes remains a mystery. Was she a true believer in over her head? Is she pathological liar? A sociopath? An old-school scammer dressed up in a Steve Jobs costume? Regardless of her motivations and mental condition, she was clearly able to pull a whole lot of people at the highest levels of finance, government and business into her vision. As Gibney says in a voiceover early in the film, “to understand what happened, it pays to look past the price of the stock to the value of the story. This compelling tale of divining hundreds of diseases from a drop of blood was a testament to the imagination of the inventor.” And the credulity of everyone else , he might have added.

Georgina Angless Joins British Pathe as Business Development Exec for North and South America

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British Pathe has appointed Georgina Angless to oversee its North American licensing service. She takes over from Richard Goldthorpe, who had handled North American enquiries since British Pathe launched there in 2015. She will also act as British Pathe's first business development executive for South America as the company looks to explore that untapped market.

Georgina has a background in photography, studying the art form at the Edinburgh College of Art and contributing to Elle Magazine and Culture Label, among others. From there, she expanded into image licensing, acting as a Key Account Manager at Getty Images, a Picture Researcher at the Tate, and Head of UK Commercial Image Sales at Bridgeman Images.

"Georgina will be crucial to solidifying British Pathe's presence in North America, a market we're still relatively new to," says Alastair White, CEO of British Pathe. "But she will be building our South America strategy from scratch."

He continues: "Georgina has extensive experience in all aspects of the industry, from archive research to managing a licensing sales team to having her own photographs licensed. She can offer a fresh perspective on our activities with an aim to establishing British Pathe as the go-to resource for anyone in the Americas in need of archive footage. We're very happy to welcome Georgina to our team."

For her part, Georgina is excited about the challenge that lies ahead of her. "I am delighted to be taking care of British Pathe's clients in North and South America and I look forward to meeting producers, broadcasters and researchers in the industry there. I believe my background in licensing puts me in good stead to deal with client requests and I can't wait to delve further into the British Pathe archive to see what it has to offer."

For further information, please contact British Pathe on +44 (0)20 7665 8343 or email georgina@britishpathe.com.

The British Pathe archive is a treasure trove of 85,000 films unrivalled in historical and cultural significance. Spanning the years from 1896 to 1976, the collection includes footage from around the globe of major events, famous faces, fashion trends, travel, science and culture. It is an invaluable resource for broadcasters, documentary producers and archive researchers worldwide. British Pathe also represents the Reuters historical collection, which includes more than 120,000 items from the news agencies Gaumont Graphic (1910-1932), Empire News Bulletin (1926-1930), British Paramount (1931-1957), and Gaumont British (1934-1959), as well as Visnews content from 1957 to the end of 1979.

NBC Looks Back at Evolution of Civil Rights Movement

In honor of Black History Month, NBC News Archives is taking a look at the evolution of civil rights in America. From the Montgomery Bus Boycott in 1955 to the Black Lives Matter movement of today, NBC News has followed history as it has unfolded. Our new collection, Voices of the Civil Rights Movement, highlights interviews with crusaders from the 1950s and 1960s and emphasizes the ongoing nature of the struggle.

In 2013, Jesse Jackson reflected on the ongoing relevance of the Civil Rights Movement. “There is an unfinished task of searching for equality,” he said. “We’ll go back to work. That’s all. I mean, it’s the struggle that’s come full circle.” This interview with Jackson is one of over a hundred firsthand accounts collected for Voices of the Civil Rights Movement, a multimedia project of Comcast NBCUniversal and the Equal Justice Initiative. Voices captures their unique perspective as eyewitnesses to both the Civil Rights Movement and its ongoing legacy, who see today’s fight for civil rights within the context of a much longer battle.

Now Streaming: Conversations with a Killer - The Ted Bundy Tapes

Conversations with a Killer: The Ted Bundy Tapes premiered on Netflix on January 24, 2019, 30 years to the day after Bundy was executed in Florida. Directed by Joe Berlinger, the four-part series, which consists primarily of archival footage and interviews with key players in the investigation and media coverage at the time, is anchored by excerpts from a series of taped interviews that journalist Stephen Michaud conducted with Bundy in 1980 while he waited on death row. Bundy, who maintained his innocence until shortly before his execution, was initially evasive in the interviews. Desperate for a breakthrough, Michaud suggested that Bundy approach their conversations as something of an “expert witness,” encouraging him to tell his story in the third person. “It was like I had unlocked an avenue for him to finally tell this story, without saying anything that could be taken to court,” Michaud says in the film. “And off he went.”

The series positions Bundy within the shifting social currents of the 1970s, when violent crime was on the rise, the concept of a serial killer was new and mass-murderers like Charles Manson, John Wayne Gacy and David Berkowitz (Son of Sam) terrorized the nation.

“In the 1970s, the phenomenon of serial murdering was brand new and absolutely frightening,” says Michaud. “The term serial killer didn’t exist. The fact that somebody could murder and murder and murder and could get away with it for a long time and be undetected, it really unnerved people.”

And nobody was more unnerving than Bundy. “Ted stands out because he was an enigma,” says Michaud. “Clean cut, good looking, articulate, very intelligent. Just a handsome young mild-mannered law student. He did not look like anyone’s notion of somebody who could tear apart young girls.”

"Ted Bundy is the quintessential American enigma," Berlinger said in an interview with Refinery29. "He taps into our most primal fear: that you don't know, and can't trust, the person sleeping next to you. People want to think those who do evil are easily identifiable. Bundy tells us that those who do evil are those who often people we know and trust the most."

Berlinger makes excellent use of archival footage, immersing the viewer in time and place, capturing the growing dread as Bundy’s killing spree continues unabated and illustrating Bundy’s increasingly fevered mindset.

The film also succeeds in showing what the country was like before the advent of modern news-gathering, communication and law enforcement technologies. With little ability to share information and collaborate, even neighboring police jurisdictions were left to pursue their investigations in relative isolation, a gap Bundy understood and exploited as he made his way across the country.

An Interview with Westdoc Online Founder Chuck Braverman

Veteran film and TV producer Chuck Braverman was kind enough to chat with us recently about Westdoc Online, his year-old online interview show. Over the course 22 episodes, he's spoken with many leading filmmakers, including Tim Wardle, Anna Zameka and Steve James, and covered a wide range of topics of interest to the documentary film community. Episode #5, in which he delves into the nitty-gritty of footage licensing, should be of particular interest readers of this site.

Westdoc Online founder chuck braverman.

Westdoc Online founder chuck braverman.

Footage.net: Please introduce yourself and tell us what you’re working on.

Chuck Braverman: I am a long time filmmaker having directed dozens of episodic shows, some movies for television, a feature film, and many non-fiction documentaries. For years I had my own production company in Los Angeles, and we produced a large variety of films for tv networks, corporate clients, commercials, and docs. I am currently working part time teaching an advanced filmmaking class at Cal State University Northridge, and have half a dozen eclectic projects in different stages of development

FN: When did Westdoc launch?

 CB: The original Westdoc Conference was started in 2010 with my friend and business partner (producer/distributor) Richard Propper. We produced the live conference in Santa Monica and then L.A. for six years for non-fiction and reality filmmakers. I launched Westdoc Online in December of 2017 as an experiment to see if I could take some of the best elements of our original conference concept online live to interview and discuss non-fiction filmmaking with participants around the world. This would be live and available free to everyone.

FN: What are your goals for the project?

CB: I want to stimulate more thought and conversation about documentaries with the people who produce, direct, and distribute the docs and everyone who love movies. I would like to achieve a critical mass audience that makes this concept commercially viable.

 FN: Who is your target audience and what will they learn from watching your interviews?

CB: The target audience includes filmmakers and the people who watch documentaries and other forms of non-fiction. I hope this will help to open up the world of non-fiction and will stimulate more interest in documentaries. I believe that of the 500 or so feature films that were released this year in the states, some of the very best were docs that could compete on every media platform with the better known and publicized studio and indie fiction films.  Four of this years short listed Oscar docs grossed over ten million each at the theatrical box office.

FN: What have you learned about the documentary business from doing these interviews?

CB: I have learned that documentary filmmakers are eager and open to discussing their films and how they were produced. It also seems to be the best of times, and the worst of times for docs. The big players are commissioning more and more with fewer producers. This is a pattern that I have seen before and the first time filmmaker has a higher bar to jump over.

 FN: How do you pick your interview subjects?

CB: I pick my subjects by what interests me and what I think will interest others. I have a very strong sense of curiosity and want to know everything I can about docs and the people that make them. Of the 160 feature docs that were submitted to the Academy this year, I had three of the 15 films and the directors that made the short list on my series and could have had a couple more, but I wasn’t that crazy about some of the favorites.

 FN: How many episodes have you produced?

 CB: To date I have produced 22 episodes and they are all available online for free on the WestdocOnline.com site.

FN: In one of your interviews, Ondi Timoner said that this is the “golden age of documentary.” Do you agree? Why/Why not? What is driving the interest?

 CB: I agree with Ondi and the reason is simple. Some of the docs being made today are every bit as good as any 50 million dollar fiction feature film. The audience doesn’t care if it is a doc as long as it is a good story, and entertains.

FN: What are some of the biggest challenges your subjects are facing today?

 CB: Today, as always, getting financed is the biggest challenge for most filmmakers. Should this film be commissioned by a network (with all the accompanying challenges, or acquired (probably for less money and a risk), or a co-pro which means you have to sell it the film more than once with no guarantees.

 FN: Who are some of the filmmakers you have interviewed so far? Any favorite episodes/interviews?

CB: My favorites so far include Tim Wardle, the director of the Oscar short listed Three Identical Strangers; Anna Zameka, director of the short listed Communion; RaMell Ross, director of the short listed Hale County, This Morning, This Evening; Frank Stiefel, Oscar winner for the doc short Heaven Is a Traffic Jam on the 405; Marina Zenovich, director of Robin Williams: Come Inside My Mind; and Steve James, director of Hoop Dreams and the Oscar nominated Abacus: Small Enough to Jail.

FN: What are some of the best documentaries you have seen lately?

 CB: The Last Race directed by first timer Michael Dweck is stunner. Beautifully shot and very immersive. Disappointing that his distributor didn’t get into the Oscar race sooner and with more of a push to get this film noticed. (That is a whole other topic of discussion about promoting docs for the awards circuit.) Hale County, This Morning, This Evening is an art film/doc masterpiece. A different kind of doc. They Shall Not Grow Old from Peter Jackson is an incredible breakthrough in technology and a surprisingly emotional experience. And Three Identical Strangers tells a great story in dramatic and compelling format.

 FN: What makes for a great documentary film?

 CB: The three most important elements are; story, story, and story.

 FN: We are of course very interested in the role of archival footage in documentary filmmaking. Have any of the filmmakers you’ve interviewed talked about their use of archival footage?

 CB: Episode #5 was all about licensing clips and archival footage. It featured a stock footage house, producer, the head of stock footage association, and an IP attorney. I believe that archival footage is a very important part of documentary filmmaking and the more knowledge we have about licensing footage from various sources, the better.

 FN: How has Westdoc evolved over time?

CB: In the beginning of Westdoc Online was more about multiple people from different locations live on the web. Over time, I have concentrated more on one on one interviews and less have been live. From a technical point of view, I have learned more about live streaming and the hardware and software needed to put on a professional series.

FN: What’s next? Where would you like to go from here?

CB: I am planning a pilot experiment producing an episode with myself and a guest reviewing docs that are available online. We’ll see what happens.

New 4K Collections at Global ImageWorks

Global ImageWorks has a variety of new 4K footage in stock, including gritty “breaking-news” style footage of riots, disasters and accidents; spellbinding footage of world cities, aviation, NASA, and much more from the 1950s onward, all transferred from the original film to 4K; and historic travel footage now available in 4K from the original film print, including footage of world destinations as they were decades ago. For authentic footage of points around the globe, this collection is a trip back in time. For more information, please contact GIW's in-house collection expert, Morgan Strong, at morgan@globalimageworks.com.

British Pathe Launches New Site for VOD Service

British Pathé has this week launched a new website for its online video-on-demand service “British Pathé TV”. The channel has been completely redesigned for 2019 and features additional content. British Pathé TV targets viewers other streaming services can’t cater for, focusing on specialist audiences such as history buffs, royal watchers, cinema aficionados and train enthusiasts. It is designed to complement the existing British Pathé newsreel archive (which remains free-to-view on the main British Pathé website). Visit www.britishpathe.tv to explore the full-length documentaries, interviews and classic movies that the revamped subscription service has to offer.

Rare Grace Kelly Footage Uncovered at Producers Library

The 1955 world premiere of To Catch a Thief and other black and white candid footage of Grace Kelly and Prince Rainier was uncovered at Producers Library this month. The footage shows a stunning Grace Kelly with Prince Rainier III in 1955 and 1956.

Producers Library owner Jeff Goodman describes the surprise discovery: “While organizing one of our film vaults we came upon a box of film sitting on a shelf that was separated years ago from an already catalogued collection of Grace Kelly footage shot by the legendary Bill Banks. There is an amazing bit of sound in this find from an interview where the Prince is asked about the filming of their wedding and admits he would have preferred an intimate wedding in a small town.”

Other rare Grace Kelly footage at Producers Library includes the 1955 Beverly Hills post- Academy Awards party where Bob Hope jokingly grabs her Oscar. She and Prince Rainier can also be seen at a 1963 Philadelphia reception with distinguished guests including their greeting of singer Eddie Fisher. The collection is rounded out with news footage and stills, as well as her movie trailers.

This newly discovered 16mm footage has been scanned at 2K resolution and now joins Producers Library’s vast archives of Hollywood and entertainment history.

For information on licensing, pricing and to view the clips, visit www.producerslibrary.com or contact Producers Library at research@producerslibrary.com, or call them at 818 752 9097.

Ina Commemorates 55th Anniversary of JFK's Assassination

November 22, 2018 will mark the 55th anniversary of President John Fitzgerald Kennedy's assassination. A mythical figure in American history, Kennedy served from January 20, 1961 to November 22, 1963. His short period in office was marked by the Bay of Pigs, a series of Cold War-related crises and the fight against racial segregation.

To honor the memory of this pivotal leader and help producers develop new projects, Ina has assembled an extensive collection of more than 800 clips and programs dedicated to commemorating the 55th anniversary of the Kennedy assassination on Ina MEDIAPRO.

Ina offers you also a calendar with a rich selection of key events and anniversary dates with videos to help clients plan ahead on all their projects. All footage research needs can be fulfilled online: search, create and download low-res clips and find footage with guaranteed rights. 

Ina is one of the largest footage sources in the world. For their professional clients, the Ina MEDIAPRO website provides a free access to over 1.7 million hours of digitized video and audio “treasures”.

ACSIL Announces Final Panel & Exhibitor Line-Up for West Coast Meet Up

ACSIL has announced it’s final slate of panels and exhibitors for it’s upcoming West Coast Meet Up, set for Saturday, October 20th in Los Angeles. The event, which will take place at Getty Images’ LA facility, will include three panels focused on the contemporary footage trade, an exhibition featuring 16 leading footage archives and a networking reception.

The event will kick off at 2pm with an hour devoted to exhibitors, where attendees can meet the archives in person. Exhibitors will include Adobe, Bridgeman Images, Footage.net, Getty Images, Global ImageWorks, Huntley Film Archives, INA, NBC News Archives, Prairie Pictures, Inc., Reelin' In The Years Productions, RockHouse Images, Vimeo, Inc., WGBH Educational Foundation and WNET.

The first panel, presented by the IDA, begins at 3pm and will explore How Documentary Filmmakers Work with Archival Footage to tell innovative stories and make history come alive in the present. Moderated by Clarie Aguilar, Director of Programming and Policy at the IDA, this panel, will look at the archival production process from the filmmaker's perspective. Panelists will include Laurens Grant (The Black Panthers: Vanguard of the Revolution; Jesse Owens); Lyn Goldfarb (Bridging the Divide: Tom Bradley and the Politics of Race; California and the American Dream); and Johanna Demetrakas (FEMINISTS: What Were They Thinking?; Crazy Wisdom: The Life & Times of Chogyam Trungpa Rinpoche).

The second panel, presented by CLEAR, will include a wide-ranging discussion of The Pros & Cons of Searching Stock Websites, Script Clearance and Fair Use. The panelists, whose combined experience in entertainment exceeds 100 years, are all seasoned veterans in their respective specialties and are sure to bring deep insights to this lively talk. Panelists will include Suzy Vaughn, Esq., who has been involved with research and legal rights clearance since 1981; Gregory Fein, who has worked steadily throughout his career on shows like, Sightings, Real TV, World’s Most Amazing Videos, The Showbiz Show with David Spade, and managing the rights and clearances for 10 seasons of Comedy Central’s TOSH.0; and Roger Memos, who has worked in the television industry as an archival researcher, clearance specialist and producer for over 30 years.

The third panel, presented by ACSIL, will provide a Sneak Preview of the ACSIL Global Survey 4 (AGS4), the fourth in a series of footage industry reports produced by ACSIL and Thriving Archives, aimed at helping leaders in the footage industry make critical decisions year-on-year. The AGS4 has just closed and the results will be published as part of ACSIL’s kick off in 2019. But you don’t have to wait that long for a snapshot of the global footage industry! The panel will be moderated by Matthew White, Executive Director of ACSIL, who will discuss the report with David Seevers, president of Thriving Archives and the principal author of the ACSIL Global Survey series.

ACSIL’s West Coast Footage Meet-Up will take place on Saturday, October 20, 2018 at Getty Images, Los Angeles 6300 Wilshire Blvd, 16th Floor Los Angeles, CA 90048.

If you're in LA this weekend, we hope you'll come by. Attendance for footage buyers, producers, filmmakers and researchers is free, but registration is required.

FootageBank Introduces Online Licensing!

TA-DA! After nine months of development, fine tuning, and testing, FootageBank has launched its e-commerce site. (See below for a celebratory 10% coupon for loyal Footage.Net readers.)

FootageBank pulled the new site together primarily with its team of three, and an off-site developer. Carol Martin led as Project Manager and Information Architect. Erik Dahlgren acted as Usability Lead and Content Delivery Manager. Paula Lumbard, President of FootageBank, filled the role of Checkbook Chair.

Clients can now license FootageBank’s diverse collection of rights-managed footage with a few clicks. However, offline ordering will still always be welcome, as customer service is one strength the small but mighty FootageBank is renowned for. So come silently or come loudly, just come visit www.footagebank.com and see for yourself.

COUPON ALERT! Reference Coupon Code: FootageNet upon checkout and receive a 10% discount off all clips licensed through the end of October.

Jonestown 40th Anniversary at NBC News Archives

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This year marks the 40th anniversary of the tragedy at Jonestown. Officially called “The Peoples Temple Agricultural Project,” it was a settlement established by Reverend Jim Jones in the 1970s. Jones had started the Peoples Temple in the 1950s, a religious group concerned with racial equality and social justice. The settlement in Guyana was meant to be the beginning of their socialist utopia. However, conditions were brutally harsh at Jonestown and followers were forced to work long days with little food. Jones grew controlling and paranoid that the CIA was trying to sabotage his dream.

In November of 1978, California Congressman Leo Ryan flew to Guyana to investigate claims of abuse at Jonestown. Nine journalists accompanied Congressman Ryan, but NBC News owned the only camera allowed on the trip. The exclusive footage they captured provides a glimpse of what life was like on that last day at Jonestown. In just 24 hours, nearly everybody on the tape would be dead.

After touring the settlement, Ryan and company returned to the Port Kaituma airstrip with 16 defectors in tow. One of those defectors was secretly a Jones loyalist and opened fire on the group. All in all, five people were killed on the airstrip, including Congressman Ryan, NBC News cameraman Bob Brown, and NBC News correspondent Don Harris.

Back at the compound, Jones gathered his congregation in the pavilion, where followers were made to drink a mixture of Flavor Aid and cyanide. By the end of November 18, 1978, a total of 918 people had died in Guyana.

Join NBC News Archives in remembering 40 years since the Jonestown massacre at NBCNewsArchivesXpress.com.

Reserve Your Spot at ACSIL's West Coast

1 Networking Event - 3 Panels, 3 Perspectives, 100% Footage. Panels by ACSIL, CLEAR & THE IDA

There are a few tables left for ACSiL’s West Coat Meet-Up, set to take place on Saturday, October 20, 2018 at Getty Images’ LA facility. Footage archives are encouraged to reserve a table now before they are all gone. Footage buyers can meet the archives, attend panels and network for free, but space is limited so RSVP soon to confirm a spot.

Schedule:

  • 2 pm to 3 pm - Meet to the Archives

  • 3 pm to 6 pm - Engage with Panels presented by ACSIL, CLEAR and the IDA

  • 5 pm to 7 pm - Networking Reception

Footage Archives Can Still Reserve a Table

Fees:

  • $250 for ACSIL Members

  • $500 for Non-ACSIL Members

  • $450 for BAPLA and DMLA Members

Details

  • 4 ft rectangular table with linen, chair, and table sign.

  • No AV is provided, but exhibitors can bring their own laptop or monitor that must sit on the table.

  • Electricity and internet access provided.

  • No backdrop signage or deliveries.

  • Space is limited, and your reservation will not be complete until payment is made via emailed invoice.

  • FREE Valet Parking.

Registration

Space is limited, and registration or a reservation is required for attendance. Footage buyers can register for free. Attendance for non-ACSIL member footage licensors is $100.

Click here to register.

Free validated parking available at 6346 Wilshire Outdoor parking lot only!

About the Organizers/Panels

ACSIL’s, Association of Commercial Stock Footage Licensors, panel will bring leaders from the world’s most important archives to discuss the challenges and successes of stock footage industry and provide attendees with a sneak peek of the upcoming ACSIL General Survey 4 (global view on footage industry).

CLEAR’s, Association of Clearance and Research Professionals, panelists will share their expertise on rights and clearance administration for film and television, which all footage sellers, rights managers, producers, and researchers will not want to miss.

IDA, International Documentary Association, has created a community of the world’s best documentary makers that are ushering in a “golden age” of archival footage use in production, looking to researchers to make a deep dive into archives for the best and most unique footage, and pushing for more flexible clearance deals. This panel will explore how documentary artists are producing their projects, working with archives, finding footage, and getting footage cleared now.

Event Details/Address

  • Getty Images, 6300 Wilshire Blvd, 16th Floor, Los Angeles, CA 90048

  • Saturday, October 20, 2018

  • 2pm - 7pm

Kicking Down the Walls at FootageBank

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t FootageBank, 2018 has been a year full of blueprints, contractors, demolition, and construction. No, FootageBank hasn’t moved again – it’s been building a handcrafted e-commerce site. Like constructing an invisible house, creating an e-commerce site has meant tearing down the current site’s load-bearing walls to watch ceilings collapse. It has meant selecting hardware to match finishes that don’t look like the samples. New plumbing, new wiring, new roof, and a new experience – a massive project for a tiny team, led by Carol Martin. But the dust will settle, FootageBank’s e-commerce site will open next month, and it will be a beauty! 

Revisit the Great Recession of 2008 at NBC News Archives

It has been ten years since the beginning of the Great Recession. The cataclysmic event started in the United States, with the crash of the subprime mortgage bubble in 2007. Other factors, such as predatory lending, fraudulent underwriting practices, and excessive risk-taking by financial institutions, increased the debt and eventually escalated into a full-blown banking crisis.

In the United States leading up to the crash, high mortgage approvals and low interest rates triggered a spike in home purchases. This drove up housing prices, which led to large numbers of homeowners borrowing against their homes as an apparent windfall. Unfortunately, many homeowners were unable to pay back their loans, and high delinquency rates led to the rapid plummet and devaluation of financial assets. The banks that had invested in the loans were facing a major liquidity crisis. In other words, the bubble had burst.

On September 15, 2008, the investment bank Lehman Brothers filed for bankruptcy. By the next day, at least seven other major financial institutions were all expected to follow suit. To prevent this outcome, and a possible collapse of the world financial system, the US federal government paid several trillion dollars to bail out the banks. Despite the bailout, the crisis was followed by a global economic downturn: the Great Recession..

NBC News Archives has assembled a trove of clips covering the 2008 financial crisis. Click here to see the best.

ACSIL's West Coast Footage Meet-Up Now Accepting Exhibitor and Attendee Registrations

The Association of Commercial Stock Image Licensors (ACSIL)'s website and registration page for exhibitors and buyers alike is now live. Please visit their webpage and follow directions to sign up. As a reminder, their West Coast Meet-Up is in Los Angeles on Saturday, October 20, 2018. The event is being held at Getty Images' LA office and will focus on 3 Panels, 3 Perspectives, 1 Networking event, 100% Footage. The day will include mingling with the archives (2-3pm), three panel discussions organized by ACSIL, CLEAR and the IDA (3-6pm), and wrapping up the day with a fun networking reception (5-7pm). Admission for footage buyers is free but an RSVP will be required as space is limited. Click here for more information.

The Red Skelton Hour, a Treasure Trove of Pop & Rock Music Acts from 1962-1970, Available at Reelin' in the Years

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For the past six years, Reelin’ In The Years Productions (RITY), the world’s largest music footage library, has been proud to exclusively represent for licensing all of the music footage from the classic television program The Red Skelton Hour, which aired on CBS from 1962 – 1970. This footage is unique in that the music performances haven’t been seen since the program was originally broadcast.

Red Skelton is widely considered to be one of the greatest entertainers of all time, and his television program, The Red Skelton Hour, is acknowledged as one of America’s finest TV variety shows. Throughout the program’s history, many of the top musical artists of the day appeared, including the Rolling Stones, Simon & Garfunkel, The Animals, The Kinks, The Fifth Dimension, Jan & Dean and Dionne Warwick. Reelin’ In The Years Productions brought its vast experience in the field of licensing to market the music footage from the show, re-transferring hours of master tapes and spending years meticulously cataloging this important library.

The Red Skelton Hour archive contains a “who’s who” of notable guests including some of the greatest musical icons of the era. The Rolling Stones made one of their earliest national TV appearances on the program  — two months before their first time on The Ed Sullivan Show — performing three songs including their first American single, “Tell Me.” The Beach Boys appeared twice on the show: once in 1963 (their second time ever on national TV, and with original member David Marks still in the band) and, again, in 1964 performing “In My Room” and “I Get Around.” Other gems in the archive include Three Dog Night performing their smash hit “Easy To Be Hard,” The Four Seasons singing their #1 hit “Sherry,” three appearances by Johnny Rivers including renditions of “Secret Agent Man,” “Memphis,” and his chart-topping hit “Poor Side Of Town” and The Association performing their #1 hit “Windy.” Possibly the rarest musical guest on the show was Iron Butterfly, who performed their classic “In-A-Gadda-Da-Vida.”

One of the greatest strengths of The Red Skelton Hour archive is the exceptional collection of “British Invasion” performances; virtually every major UK act, save the Beatles, appeared on the program. In addition to The Rolling Stones, other artists include The Kinks, The Animals, The Hollies, Manfred Mann, The Searchers, Billy J. Kramer & The Dakotas, Dusty Springfield, Peter & Gordon, The Honeycombs, Chad & Jeremy, and Freddie & The Dreamers. 

Commenting on the The Red Skelton Hour archive, Reelin’ In The Years founder and president David Peck stated, “Representing the performances and interviews from the musical guests on The Red Skelton Hour is truly a great honor. The holdings are incredible, featuring many unique and one-of-a-kind performances. In addition, since the music performances haven’t been utilized in any form since the early 1970’s, it’s been the rediscovery of a great American treasure.”

Click here to view a unique content from the Red Skelton Hour available for licensing through Reelin' in the Years.

AMCUP & FOCAL to Host FootageFest 18 in LA

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This Fall, AMCUP will premiere FootageFest ’18.  Partnering in AMCUP’s inaugural event is its new transatlantic partner, The Federation of Commercial Audio-Visual Licensors (FOCAL International), who is coming to the newly-revitalized NoHo Arts District in the Heart of the City of Angels. 

The two-day festival will take place on September 22-23, 2018 at multiple locations in North Hollywood.

Whether you represent stock libraries, production companies, news agencies, viral videos or independent cameramen – you probably spend way too much time travelling to conventions with the promises of being connected to buyers….

And whether you are a researcher, clearance professional, archive producer, writer or director, you probably spend way too much time trying to find those unique pieces of footage that you haven’t been able to find at the larger corporate libraries – the clip that’s going to bring gold to your project.

Much ado is made about conferences that promise to bring buyers and sellers together, and often require pricey travel into snow-infested territories – on the hopes that buyers will meet more sellers, and vice-versa.

"Well, roll the dice no more," said Steve Kozak, AMCUPs founder and director. "The Association of Media Content Users and Providers includes both buyers and sellers among its members, so there’s no need for special events designed to bring people together….Every AMCUP event is, in and of itself, an ideal opportunity to meet the buying or selling partner you’ve been looking for."

"Although AMCUP’s diverse membership includes employees from large production companies and corporate stock houses, our key strength is the inclusion of freelance researchers and archival producers, as well as smaller niche stock houses," said Kozak. "It is these dynamic independents that make us so different, so unique and such an exciting and creatively-inspiring organization to be involved in."

"AMCUP also tears away at the false stereotypes of stock footage," said Kozak. "While we wholeheartedly embrace the historical content of yesteryear, AMCUP blazes a digital torrent into the viral community – as well as the technical ability to digitally-enhance our analog community.  With the addition of Jukin Media’s Founder Jon Skogmo as our Director of New Media, we have essentially partnered with the largest purveyor of viral video content in the industry." 

In just over two years, AMCUP has rapidly grown to 300+ members worldwide, bringing buyers and sellers, creators and consumers, or as AMCUP calls them -- users and providers --- together, and in the convenience of Hollywood, California. 

The time has come for Hollywood itself to host its own footage expo.

Highlights include:

  • 10+ Panels Across Every Aspect of our Industry.
  • 20+ Archives from US, UK, Middle East & Australasia.
  • The Real Thing: No Sponsored Panels!  No Sponsored Speakers!
  • Food, Fun, Footage, Drinks.
  • US & Brits Fight to the Bloody Death Over Footage Trivia.
  • A Night of Bad Footage That’s So Good at the HaHa Comedy Club with Special Surprise Guest!!!

Confirmed Panels to Address and Discuss the Following Issues:

  • Licensing Content FROM U.S. & U.K. Film & TV Studios - What are their policies?  Turnaround time for requests?  Pet Peeves?  What restrictions do they have as far as context?  Which studios need specific director / actor approvals? 
  • Licensing Content TO U.S. & U.K. Film & TV Studios - How can content owners license more of their material to today's top film and TV studios in the U.S., as well as in the UK?  How can one become a "preferred vendor" and how common is this practice among large corporations?  How do the UK tax laws affect US vendors, and vice-versa? 
  • Content & Recouping Fees for Unauthorized Uses - Someone has used your content without your permission....What recourse do you have?  How does the Lenz vs. Universal decision affect your aggressiveness in pursuing a copyright takedown? How is business affected by the alleged victim who -- some may say – has to decide whether to bite the hand that feeds them?
  • Researching & Licensing News Content - News stringers, assignment editors and producers offer the tricks of the trade – how to work with local markets, and the ups and downs of working with local, national and international news agencies.  
  • Researching & Licensing User-Generated Content - Viral video personalities, UGC agencies and producers discuss the ups and downs, and the potential dangers of using UGC across their platforms.
  • Researching & Licensing Sports Content - International sports agencies, specific sports leagues and producers discuss the challenges awaiting you as you begin your sports content-infused project.  
  • Meet the Diggers: Archive Producers from Top Docs of 2016-2018…Q & A with the Folks Behind these Recent Epics: Won’t You Be My Neighbor; Bobby Kennedy for President13thMy GenerationI Called Him Morgan; and The Jinx: The Lives & Deaths of Robert Durst.
  • Current Legal Claims, Cases, Verdicts & Decisions - A group of top I.P. attorneys in the entertainment industry fill us in on the most recent legal developments, as well as updates on recently filed cases and claims – and their potential effect on us.
  • Clip-Flip: Pitch Your Third-Party Content for Documentary or Non-Fiction Project - Archivists, researchers, stock reps and all attendees can hear from the Executive Producers and Showrunners that have “flipped” a small piece of third-party content by converting it into a long-form documentary.  Do you hold a similar piece of content in your library? Afterward, attendees can pitch their clip -- along with their idea – to one of our several showrunners and EPs and see if their content has the legs to go long-form.
  • Doc-Talk:  Screening (title and panelists TBA)  

Please click here to register for FootageFest 18.

Any questions?  Please contact FootageFest Co-Chairs:  Dominic Dare & Steve Kozak.