Archives Speak in Eight Days a Week

The Beatles: Eight Days a Week – The Touring Years, directed by Ron Howard, leverages the power of archival footage to take viewers back to the origins of Beatlemania, pulling the audience along with the Fab Four on their journey from local Liverpool band to global superstardom. The film’s producers took a remarkable journey as well, beginning their quest in 2003 with the idea that, given the growing ubiquity of handheld cameras in the early sixties, unseen archival footage documenting the Beatles touring years must surely exist in private collections and obscure archives around the world.

And they were right. Over a ten-year period, the original research team at One World One Voice (OVOM), headed by Matt White, Stuart Samuels and Bruce Higham, scoured the globe for these unseen films, tapping into an international network of Beatles collectors and historians and assembling a massive, crowd-sourced cache of rare, lost and amateur-shot Beatles footage. Throughout, they maintained the unconventional approach of building their production archive first, and letting the archival materials drive the story forward.

“We flipped the model,” said White at the London premiere. “What we were saying is we don’t know what’s out there, let’s just find as much as we can, let’s not limit ourselves to a story first. Let’s find that and see how the archives can speak, how they can do it. So then Ron Howard becomes the one who is listening to those archives. And he's going on and he’s finding these amazing stories and he’s starting to put that through.”

The effect is riveting. From the films first concert sequence at the ABC Cinema in Manchester in 1963, with the youthful Beatles performing “She Loves You” before a throng of screaming teenagers, the excitement still resonates, and not simply as nostalgia.

“If it allows people to feel what they felt back then, that’s what it’s all about,” said White.

The film captures the Beatles personal experience as they encounter global fame on an unprecedented scale.  No band had ever achieved this level of international popularity before, so they had no script to follow.  The scenes at Shea Stadium are remarkable not just for the collective madness of the crowd, but also for the vision of the Beatles performing on a bare-bones stage, their music barely audible over their modest amplifiers and the stadium’s in-house PA system against the backdrop of the screaming fans. The phenomenon of the stadium band was new, and the Beatles, with just three roadies on hand, were clearly making it up as they went along. 

“I thought that their idea of focusing on the touring years was really ingenious because the Beatles' story in total is epic and sprawling,” Ron Howard said in an interview with Fast Company. “But this has a narrative. As a director, I immediately identified it as sort of an adventure story. I felt like it was almost a survival story for these guys. They launched themselves into this, and the world reacted in a way that nobody could have predicted. It created all kinds of challenges for them. The way they navigated those challenges is revealing, moving, and impressive.”

Innovative Footage Search Process
While the interviews with Paul McCartney, Ringo Starr and others provide context, the visceral impact of the film comes primarily from the archival clips and performance sequences, many which, like their last concert at Candlestick Park in 1966, had not been seen before. Unearthing that sort of footage required an extensive, global, multi-year effort.

The idea of telling the Beatles story through unseen archives was conceived by Matt White in 2003. While working at National Geographic archives, White discovered a clip in the Nat Geo vaults of the Beatles from 1966, making an unscheduled landing in Anchorage, Alaska while en route to Japan, filmed by a Nat Geo camera crew. He believed that more forgotten footage like this must be hidden around the world, and pitched the idea to Neil Aspinall, then CEO of Apple Corps, not as a film first but as a global search for undiscovered materials that could be used to tell the Beatles story in a new way. The idea intrigued Aspinall, and White kept at the search over the the next few years, eventually forming One Voice One World in 2007 with partners Samuels and Higham, to build out the project, resulting in an enormous trove of home movies, newsreel footage and other found archival materials. 

Based on that work, Apple commissioned OVOM to expand their search in 2012, allowing them to set up a global crew of 30 researchers and put out a more comprehensive call to fans on social media, including a short video on YouTube. Meanwhile, Apple brought in Nigel Sinclair and his team at White Horse Pictures to produce the film, and, with Ron Howard on board to direct, announced the start of production in 2014, whereupon White Horse relaunched the footage search campaign, setting up a dedicated website to draw in footage owners and reaching out to the Beatles 40 million Facebook fans. “The result was a massive outpouring of materials,” said White Horse’s Nick Ferrall, one of the film's producers, in an interview with Variety.

Archival Sources
There are over 100 archival sources listed in the credits, with many of the big archival providers listed, including ABCNEWS VideoSource, AP Archive, Framepool, Getty Images, Global ImageWorks, Historic Films, ITN Source, NBC Universal Archives and WPA Film Library. The film benefits from access to the archives of Apple Corps and the inclusion of archival gems gleaned from untraditional sources, such as the Tokyo Metropolitan Police Department and the Vancouver Police Museum, as well as many private collections. 

Audio Reengineering
The film is noteworthy for its sound quality, with audio engineering headed up by Giles Martin, son of the late Sir George Martin, the Beatles original producer. The challenge in restoring the audio was two-fold: separating the Beatles music from the noise of the fans, which often overwhelmed the band’s onstage sound systems; and working with what were often lo-fi recordings of the Beatle’s live performances. Martin used cutting-edge audio technology to re-master these recordings and bring the sound of the Beatles to the forefront, and it makes a huge difference, giving viewers the chance to actually hear the music. 

Strong Box Office
With big players like Ron Howard, Brian Grazer and White Horse Pictures involved, as well as the full participation of Apple, Paul McCartney and Ringo Starr bringing the film to fruition, the release was a hit. According to the Los Angeles Times, “in the first three days after opening on 85 screens on Friday, Sept. 16, Eight Days a Week grossed $622,410, for a per-screen average of $7,322,” according to the film’s distributor, Abramorama. “Factoring in preview screenings on Thursday, the total gross through Sunday came to $771,154,” the LA Times reported. As of October 2, the film had grossed $2,088,918 in North America and $6,071,329 outside of North American for a worldwide total of $8,160,247, according the website Box Office Mojo. The film is being held over for a third week in some theaters and will be released on DVD and Blu-Ray on November 18, according to Billboard. The release strategy was also innovative, premiering simultaneously in theaters worldwide and on-demand on Hulu. 

A Post Network Hit
This film has all the characteristics the Post-Schedule Documentary economy described by Peter Hamilton both on his blog,, and in an interview we published in last month’s newsletter (Archives are Back!). It includes a big name director (Howard) and A-List production talent, brings with it a large affinity audience and has as its subject matter a group of major, global celebrities. It also includes previously unseen footage, a critical selling point for the networks. Hamilton’s Case Study on Eight Days a Week is a must read.

“Archive based ‘event’ docs are nearly always about celebrities and historical figures with huge name recognition, and therefore the film is presold to the audience,” Hamilton said in our interview. “This is important in a universe where there are thousands of channels, and networks can’t afford to market a concept from a standing start.”

Documentaries like Eight Days a Week “attract passionate affinity audiences who promote their favorite docs across their own press and social media communities,” according to Hamilton.

And the significance of previously unseen footage in Eight Days a Week as well as other signature docs cannot be overstated. “Just about every network we are working with will not accept archive-based shows unless we can say the images have never before been seen,” filmmaker Tom Jennings said in our interview. “There is tremendous pressure to do this.  Obviously, the image and sounds have been seen at least once if they were broadcast.  We have to look far beyond the usual images that an audience remembers to try and find the moments that live outside our collective consciousness.  If we can’t say ‘unseen’ many times we lose the sale.”

The film also exploits an innovative Post Network release strategy, premiering in both theaters worldwide and on Hulu simultaneously.

Production Team
Eight Days a Week was produced by Nigel Sinclair (White Horse Pictures), Scott Pascucci (Concord Bicycle Music), Brian Grazer and Ron Howard (Imagine Entertainment) and Apple Corps. Coproduction credits went to Matt White, Stewart Samuels and Bruce Highman (One World One Voice). Clearance work was provided by the team at Global ImageWorks, headed up by Jessica Berman Bogdan and Cathy Carapella.  Eight Days a Week is running now on Hulu in select theaters worldwide. 

Producers Library Adds Medieval Footage

Los Angeles-based Producers Library has recently discovered the second-unit outtakes from Errol Flynn’s last swashbuckler, 1955’s The Dark Avenger (released in the US as The Warriors). The Dark Avenger was filmed at Elstree Studios in England, using a castle originally built for MGM’s 1952 production of Ivanhoe. The colorful footage includes knights in battle, establishing shots of the castle, archers, jousting, drunken cheer and more! Producers Library has scanned the 7,500 feet of 35mm Eastmancolor CinemaScope negative to 4K. 

FOCAL's Footage Awards 2017 Now Open for Submissions and Sponsorship

FOCAL International has opened the submissions phase of their annual FOCAL International Awards, to be presented on 25 May, 2017, with a call for creative professionals worldwide to submit their work for consideration in one of 15 award categories. Now in its 14th year, the FOCAL International Awards showcase the creative use of stock, library and archival footage by producers, directors and production companies worldwide, as well as contributions made to the global production community by archives, film libraries, researchers and technicians, as well as the work done to restore and preserve these irreplaceable assets. The deadline for all productions premiered in 2016 is set for 1st December but productions premiered later in the year can request a late entry.

The FOCAL International Awards celebrate achievement in the use of footage in all variety of genres, across all media platforms plus its restoration. Recent winners for their Best use of Footage in a documentary include many prominent, critically-acclaimed films such as Amy, Senna and Night Will Fall. Lifetime Achievement winners have included Rick Prelinger, Grover Crisp and Raye Farr. FOCAL International were also honored to have Martin Scorsese personally collect the prize for the Best Restoration of the Red Shoes. 

Producers, filmmakers and other creative professionals who have used library footage in a documentary, feature film or any other form of production over the last year are encouraged to submit their work for consideration. There are also Awards for best archive researcher, library and restoration work. 

FOCAL International has enjoyed support from all areas of the industry over the past 14 years and would welcome inquiries from new sponsors at all levels – main sponsorship and category sponsorship. For a brief overview of the Awards, check out FOCAL’s Awards Ceremony Promo video.

Stock, library and archival footage play a central role in many of today’s most critically acclaimed films, and, for over a decade, FOCAL International has worked to recognize and celebrate the skill and artistry with which leading filmmakers source and implement this indispensable creative asset. The world renowned FOCAL International Awards Ceremony is a magnet for all leaders of the global footage community and will take place on 25th May 2017 at the Royal Lancaster Hotel, London, UK.

The 2017 FOCAL International Award Categories are follows:
•    Best Use of Footage in a History Production
•    Best Use of Footage in a History Feature
•    Best Use of Footage in a Factual Production
•    Best Use of Footage in an Entertainment Production
•    Best Use of Footage in an Arts Production
•    Best Use of Footage in a Music Production
•    Best Use of Sports Footage
•    Best use of Footage about the Natural World
•    Best Use of Footage on Other Platforms
•    Best Use of Footage in a Cinema Release
•    Best Archive Restoration & Preservation Project
•    The Jane Mercer Footage Researcher of the Year Award
•    Footage Employee of the Year
•    Footage Library of the Year
•    Lifetime Achievement Award

The qualifying period is productions premiered in 2016 and entry is via the FOCAL website until the closing date 1st December.  Any productions being premiered during December can make a late submission, by prior arrangement.

In all the production title categories the submission fee is £75. For other categories there is no fee.

Click here for full details and the submissions entry form.  Those interested in sponsorship opportunities should contact FOCAL International, or Tel: +44 (0) 20 3178 3535.




Global ImageWorks Celebrates the Life of Elvis Presley

"Imagine one kid from Tupelo, Mississippi gets on television and because of a performance, shakes the soul of a society"
- John Seigenthaler
August 2017 marks 40 years since Elvis left the building. Elvis's every move and utterance turned rambunctious teenagers into screaming fanatics- much to the dismay of their parents. Global ImageWorks affords a rare glimpse at the Tupelo man behind the American mega-star.
In '56, Elvis releases Heartbreak Hotel and it sells a million copies. Elvis' manager Colonel Tom Parker knew from the beginning that Elvis was capable of more than just record sales. There are no hips on the radio, after all. In the span of just a few months, Elvis was a movie star with a seven-year contract with Paramount Pictures. And to think that just three years earlier, Elvis and his parents had been living in public housing, in a town where people knew him as the boy whose clothes didn't fit.
Global ImageWorks represents two collections that contain unique film and still photos tracking Elvis' meteoric rise in 1956 and beyond. These unprecedented and comprehensive collections have several gems including interviews with friends, early performances (complete with the requisite hordes of screaming teens), and the only footage of Elvis wearing his famous gold suit.
They are still adding to their Elvis holdings with never-before-seen photos, including behind-the-scenes images of the filming of Love Me Tender, and his rehearsal for his first appearance on the Ed Sullivan Show.
For more information or to request screeners, please email


Register Now at Skyworks and Save $100 on Your Next Order

Experts in Aerial Filming, Skyworks Ltd, have just launched a completely new website, where their top-end aerial footage can be searched, purchased and fulfilled completely online. In a special partnership with, Skyworks is offering a $100 credit to customers before September 10th. To get this credit, all you have to do is register on the site at and then go to before September 10th. The credit will be added to your account and you can use it whenever you wish.

Using Solr search and Skyworks' unique spatial search technology, offers an unrivaled experience for finding and obtaining the footage you need fast.

Skyworks have also transformed their pricing model - licenses are all 'Skyworks Royalty Free' in perpetuity, making administration for program-makers much simpler. Gone is pricing by territory and usage in favor of a simple price-per-clip model. The number of online clips has also doubled to over 120,000 and is growing all the time.

Click here to get started! 

7 Good Reasons to Zap Your Next Footage Request

If you’re looking for a simple way to streamline and expedite your footage research process, here are seven good reasons to give our Zap email a try.  

1. It’s easy (and you’re busy).
Footage research can be complicated and time-consuming, and chances are you have a lot of other work on your plate.  With one Zap email you will instantly reach our full list of stock footage partners, where expert researchers at each company will review your request and get in touch with you directly if they have footage that meets your needs. Just go to, click on the Zap button on our homepage, fill out the (very brief) request form, hit send and you’re done. 

2. You want to cast a wide net. 
When you send a Zap email, your footage request goes out instantly to a large and diverse group of leading footage providers, so it’s a very efficient communication channel.  As Paula Lumbard of FootageBank puts it, “if I’m not able to help a client with a request, I often refer them to the Zap email at as I know that their request will go out to all major libraries.  I tell my clients that if anyone on’s list of Zap partners has the clip they will hear from them right away. Zap is the go-to resource for a fast and thorough search for footage of all kinds, categories, and genres.”

3. You don't know where to begin your search.
Zap Emails go to footage companies you might not think to contact, and our Zap partners enjoy fielding the wide variety of requests our users make. As Stephen Parr at Oddball Films puts it, “since Oddball Films has such a diverse collection, we love the random nature of fielding Zap requests. Our ‘cinematic think tank’ approach provides not just the clips clients are searching for but a spectacle of previews they never thought of asking for.”

4. You want enthusiastic help from footage experts.
Sending a Zap Email will get your footage request in front of footage experts who are ready, willing and able to help you locate the right content.  As Ed Whitley at Bridgeman Images puts it, "without doubt,'s Zap requests have been our most successful means of getting our new footage offering in front of today's footage users."

5. You like knowing your options.
By sending out a Zap email you will get a very good sense of who has what. Maybe the footage you want is available at multiple companies, and knowing this could be very beneficial for comparison-shopping. Once you know which companies have the footage you need, you can begin working directly with the provider of your choice. 

6. You’ve hit a wall.
Some research jobs are next to impossible. Maybe the shot you need is obscure or highly specific. If you’ve hit the footage research wall, sending out a Zap can be a good way to break through. 

7. Footage research is not your thing. 
We love searching for footage ourselves. But maybe you don’t share this passion and that’s perfectly all right. Not everyone likes doing footage research and if that’s the case for you, just think of the Zap email as your personal footage researcher.

If you'd like to check our our Zap page, please click here. And email us at if you have any questions.

Archives Are Back!

An Interview with Documentary Guru Peter Hamilton and Filmmaker Tom Jennings on the return of the Signature Archival Doc to the Cable Network Schedules and SVOD Channels.

With decades of experience in the documentary business, Peter Hamilton is a keen observer of trends in unscripted programming. We spoke with both Peter and renowned documentary filmmaker Tom Jennings about the return of “signature” archive-based docs to both the cable and SVOD schedules. In a recent edition of your newsletter, you noted that “History channel’s recent advice was: ‘Forget about the archive!’ Now, all the major channels and platforms are competing for stories that involve access to unique archival footage. What is driving this shift?

Peter Hamilton: There definitely has been a huge swing of the pendulum back to the archive. The drivers are four-fold:  the biggest is the profound structural change in viewing from broadcast and cable/satellite channels to online platforms. The other drivers are Financial, Editorial and Technical.

Let’s look at the shift in industry structure first. We are entering the “Post Schedule Documentary Economy.” US channel viewing has dropped around 20% in recent years, and more among the most desirable younger demo. Channels are being challenged by SVOD platforms, particularly Netflix and Amazon. 

The SVOD (subscription video on-demand) platforms developed a programming strategy of acquiring and then commissioning original docs. A good example is Netflix’s wonderful Nina Simone bio-doc, which was picked up after Sundance. The SVODs are expanding this strategy and commissioning more original docs, including series like Amazon’s Hugh Hefner series. Another example is the September Hulu launch of its documentary SVOD originals with The Beatles Eight Days a Week, which we are covering in a detailed Case Study in

Peter Hamilton directs Peter Hamilton Consultants, Inc. where he helps his clients to successfully develop, produce and market video content. 

Peter Hamilton directs Peter Hamilton Consultants, Inc. where he helps his clients to successfully develop, produce and market video content. 

Documentary filmmaker Tom Jennings's  many archive-based documentaries cover subjects from the Challenger Disaster to OJ Simpson to the JFK assassination.

Documentary filmmaker Tom Jennings's  many archive-based documentaries cover subjects from the Challenger Disaster to OJ Simpson to the JFK assassination.

Meanwhile, the channels like Nat Geo, Discovery and History had relied for many years on a schedule based heavily on Reality series.  But Reality lost the leading-edge following it had earned when shows like Ice Road Truckers, Jersey Shore and Pawn Stars dominated the conversation around the office water cooler.

The Reality TV era left another challenge for the networks: their programs had become commodified, and all-too-often interchangeable. Their once distinct brands had become diluted in the quest for a hit, character-based series. For example, Duck Dynasty could have been scheduled on several channels, and it muddied the A&E brand. There wasn’t much history on History. Nat Geo strayed from the promise of the famous Yellow Border brand. Now, in the “Post Schedule” economy led by Netflix and Amazon, channels that rely on factual programs need to return to their brands if they want to stand out, and the signature, event documentary is one of the keys to this process.

FN: How are financial considerations driving this trend?
PH: The SVOD era is dominated by big, scripted, multi-season series like House of Cards. It’s the binge-watching era!  The platforms can only afford so many scripted series with A-List talent like Kevin Spacey, and documentaries are relatively affordable in comparison. 

A typical doc is much less expensive than a scripted series involving even B-List stars, but brings along the passionate audience that B-Listers don’t.

Documentaries also attract A-Listers as executive producers rather than as performers. Beginning with Netflix’s Virunga, Leonardo Dicaprio now seems to have his name on a half-dozen projects including The Ivory Game and Nat Geo’s climate change doc.  These films are part of the zeitgeist, so A-Listers are really motivated to become involved. 

Another financial factor is that documentaries attract passionate affinity audiences who promote their favorite docs across their own press and social media communities. To sum up, docs are financially efficient because they are relatively affordable to produce or acquire, and they bring along their own audiences.

FN: Moving on to editorial factors: Are archival docs an important part of the signature programming mix?
Absolutely. First, archive based ‘event’ docs are nearly always about celebrities and historical figures with huge name recognition, and therefore the film is presold to the audience. This is important in a universe where there are thousands of channels, and networks can’t afford to market a concept from a standing start.

FN: Are there some other good examples of recent archive based projects that illustrate this trend?
PH: Of a recent sample of productions announced by National Geographic Channel, Amazon and Netflix, four involve extensive use of archive:  the Hugh Hefner mini-series from Amazon; an Amanda Knox film and The 13th from Netflix; and a Katie Couric led project on the Gender Revolution from National Geographic. Nat Geo earlier announced projects that will lean heavily on archives. These are about Jane Goodall, the global water crisis and the Los Angeles Riots.  

FN: Does this mean that you have to have a big name associated with your film?
PH: Unfortunately, in terms of big signature docs, there seems to be little room here for revealing and compelling but untold stories about unheralded people and obscure situations. 

FN: This is a very positive development for the big signature quarterly shows, but what about programming the rest of the schedule?
PH: It can’t be all about the tent poles. There has to be a tent, too! There are increasing opportunities for archive-based films in the regular 24x7 schedule because the archive can be affordable, carries name recognition and is readily promotable.  And this creates opportunities for the skilled journeyman production companies.

FN: How are archive-based stories evolving? 
PH: Archive based story telling has improved. Tom Jennings’ Peabody Award winning MLK The Assassination Tapes tells its tragic story cinematically in which a complicated buffet of archival elements including television reports, stills, Super8 film, 911 calls and so on are all skillfully edited to create this compelling story that plays out like a movie. Another example from Jennings that we covered in my newsletter is The Challenger Disaster

Many networks and SVOD platforms are pursuing this ‘Tom Jennings style’ of storytelling, usually for events that are associated with anniversaries, like the upcoming 2017 Princess Di anniversary. The media buzz of an anniversary gives a huge lift to a network’s relatively limited promotion budget.

FN: Have you seen any new editorial formats?
PH: Amazon just announced a big plunge with its 13-part series on Hugh Hefner based on the Hefner archive. SVOD is the home of binge scripted viewing: no doubt that there will be further commitments to multi-episode documentary series. Other recent examples are Netflix’s Making a Murderer and the clip-based series The Sixties and The Seventies

There are also ‘Eighties-style hosted and voice-of-God narrative docs in the mix. The Beatles film is a good example, where incredible Beatles found footage was supplemented by fascinating contemporary interviews with Paul and Ringo, with additional context provided by talking-heads including Malcolm Gladwell and Whoopi Goldberg.  

FN: Are there any tech breakthroughs behind the return of archive production?
PH: Yes. The first is the use of 4K conversions to capture in Matt White’s words “the gorgeous detail” of the Beatles archive. The richness of 4K allows directors to tell extended stories out of relatively small pieces of footage by creating movement, for example by zooming in and panning across the frame, and so on. A great example is Every Face Has A Name. SVT Sweden prized its footage of the first refugees from Nazi concentration camps as they disembarked in Malmo in 1945. A 4K conversion unlocked the power and value of this precious archive. 

A second technical factor is that social media allows a massive escalation of the power and reach of the search process. For example, the producers of the Beatles film invested in a social media campaign to uncover tens of thousands of archive items that were captured or saved by Beatles’ fans in the 1960s. These discoveries were integrated with the Beatles’ own archive plus other professional sources to create an absorbing, fresh look at the Beatlemania phenomenon.

Major archive libraries like ITN Source are using increasingly sophisticated customer interfaces with search and download tools to support their clients. Also, new players have entered the market to facilitate access to public domain footage. And, of course, aggregators like and even YouTube make footage research exponentially more efficient.

Third, colorization is a big factor. Radical improvements in colorization processes – plus a commitment to excellence -- helped create the most successful archive-based programming brand in recent years. Beginning with Apocalypse World War 1 (2009), CC&C’s “Apocalypse” franchise has dominated unscripted ratings in France for two decades and has been sold around the world.  CC&C set a new standard for colorization. 

FN: Are producers who are newcomers welcome to pitch the channels with their archive-based projects? 
PH: There’s little room for newbie and mid-scale doc creatives, unless the film has broken through at a major festival, or unless you control access to a stunning archive. The big signature productions are typically packaged by agents, include A-List talent, and are sold to the nets in advance. That is definitely a trend. 

Peter followed up with Tom Jennings about the swing back to the archive.

Peter Hamilton: It’s all well and good to say that the pendulum is swinging back to the archive. But it’s never that easy for producers. What are the challenges for archive-specialist producers who work with the networks? 

Tom Jennings: It’s great to find unseen archival material, but getting the rights can often be a nightmare.  Networks want all media, worldwide, in perpetuity, but archive vendors have gotten wise to the explosion in archive shows.  The more rights you want, the more they are going to charge.  So producers get stuck in the middle: networks want all rights and won’t accept a show (usually) without them.  Vendors charge premium rates for those rights.  Producers are often squeezed in an untenable position.

Just about every network we are working with will not accept archive-based shows unless we can say the images have never before been seen. There is tremendous pressure to do this.  Obviously, the image and sounds have been seen at least once if they were broadcast.  We have to look far beyond the usual images that an audience remembers to try and find the moments that live outside our collective consciousness.  If we can’t say “unseen” many times we lose the sale.

Despite the resurgence of archive shows, the networks are still deathly afraid of black and white.  There’s still that “Hitler Channel” concept attached to anything black and white.  Even when we are doing a program that features mostly black and white images because of the time when the event occurred, they always ask if there is anything in color.  Or can we at least lead the program with some kind of color.

PH: What’s the secret to the “No Narration” style of story-telling?

TJ: The no-narration, no-interview approach is by far the hardest and is not often done.  But when this style works it really pops because instead of having talking heads telling viewers what they are seeing, the audience just lives it.  It’s as if they are watching a movie, but all the images are real.  It’s as if we went out to shoot an historic event like a feature film director, but our Directors of Photography and sound recordists were dozens, if not hundreds of people, who we never met.  We rely on their work from decades ago to not only rediscover their work, but fashion it in a way they would never have dreamed of.  I mention this because our style has very good resonance with young people, because they don’t feel like their watching a doc, but a straight-up film.  Our Challenger show for Nat Geo earlier this year is a good example.  People called it “seamless.” In closing, do you expect this trend to continue and potentially pull in younger viewers? 
PH:  I do. The editorial and technical developments that we described allow archive-based films to satisfy young viewers’ preference for compelling story-telling. The shift to online viewing means that they can learn about and view these programs whenever they want. But we’re in the early days of a historic shift in the viewing experience. Radically different and unexpected formats will emerge. And there will be an increasing if niche role for the archive in tomorrow’s mix.

Bridgeman Collaborates with YouTube History Channel Epic History TV

A new collaboration between Bridgeman Footage, Bridgeman Images and Epic History TV has created an engaging micro documentary about the Russian Revolution. Epic History TV is the leading historical YouTube channel adept at crafting informative videos that are well received by all audiences. The use of images and footage from Bridgeman showcases how the archive positions itself to build quality content around specific historical anniversaries, such as the Russian Revolution. 

Bridgeman always looks to add depth to every topic in the archive through its connections with the thousands of Museums, Artists and Collections they have worked with for over 40 years. In combination with a tireless search to unearth historical and cultural content that compliments what is one of the world’s leading art archives, Bridgeman is the perfect partner for an innovative producer like Toby Groom, who created Epic History TV.

Click here to see the film.

GIW Adds New Military & High Adrenaline Collection

Global ImageWorks has added new HD military and action footage of Green Beret U.S. Army Special Forces which includes excellent weapons and basic training footage, helicopters, operational vehicles and much more. This collection adds cinematic military action to complement any fast paced production. 
In addition, see high intensity and adrenaline-pumping footage like hang gliding, paragliding, roller-coasters, and motorcycle racing. 
Also included are wonderful scenic shots from cities around the world including: Venice, London, Jerusalem, and many other wonderful world destinations. Experience destination footage that will add texture to your production.
All of this new footage is full HD progressive with 4K availability. The HD clips are specially priced at $129 each and ready for immediate download from the GIW transactional website and right into your edit!
To see the footage, please click here.

StormStock Launches New Website

Prairie Pictures’ collection of ultra high-end weather and climate footage, which is licensed through its StormStock brand, has a fresh look. The new web site has been streamlined, edited, and is better integrated than its predecessor.
“We want clients who visit the StormStock site to quickly find what they want, or at least be inspired and let us service their needs directly,” said StormStock founder and award-winning cinematographer Martin Lisius. “The new site will help us better reach that objective.”
StormStock is known for offering exclusive, premium footage shot on HD, Super 35mm and 4K with fast, personal customer service. “Our staff is comprised entirely of cinematographers and post-production people who work directly with producers, directors and researchers to help them get precisely what they need in an expeditious manner,” Lisius said.
The new StormStock web site is open 24/7 at
In addition to the new web site, Lisius has just complete a new short film titled “Wakinyan” which features some of his 4K storm footage from 2016. Click her to see the film.  

Getting Location Releases: A Primer from FootageBank's Paula Lumbard

For many years the characters in the show “Bones” lived in a house licensed from FootageBank (photo courtesy of FootageBank).

For many years the characters in the show “Bones” lived in a house licensed from FootageBank (photo courtesy of FootageBank).

Many of the houses, restaurant exteriors and other physical locations used in television shows and movies to set a scene come from stock footage agencies. And, like shots of recognizable people, these location clips typically require releases from the property owner. Paula Lumbard and her team at FootageBank have built a world-class collection of released location footage, and we spoke with her recently about the process. What is a released location? Is it mainly about buildings or are there other locations that need releases?

Paula Lumbard: A released location might be anything from a house to a restaurant to a stadium. It means we have a property release signed by the owner of the property in question. A released property could also include a private airplane, yacht, car, truck, limousine or even rights to an event.

FN: Why is it important to obtain releases? What can happen if you don’t? 

PL: It’s important because without a release anyone using an image or clip without permission by the owner of the property is in violation of the rights of privacy of the property owner. The user leaves themselves open to litigation against their use of the clip or image. It is not a risk worth taking. 

FN: What are some good examples of released locations in your collection?

PL: We’re known for day and night matching shots of locations such as restaurants, cafes, diners, and unusual locations such psychics offices, laundromats and factories. We have houses in all types of architectural styles, from tudor style to craftsman to modern as well as all sorts of businesses. We also have parks, lodges, motels, clinics and so much more, all day and night matching scenes, all angles, and all seasons. One of our most popular shots is a classic New York diner that we have shot in all seasons and all times of day. 

FN: Who are the main clients for released locations? In other words, which types of clients care about location releases and what do they typically use the released locations shots for?

PL: Our main client base is all scripted programming from network, net cast, cable movies and shows as well as feature films and commercials.  When a television show wants to establish a location in the story they often use a stock clip, if a character is in a restaurant or bar the outside of that bar will be shown to set up the scene. That bar location may be licensed from us. Characters in shows can live in a location licensed from a stock house; for many years the characters in the show “Bones” lived in a house licensed from FootageBank, likewise the characters in “Two Broke Girls”.   We produce our content for this market. 

FN: Do all locations need releases? 

That is a good question and when I’m asked that I refer my clients back to their legal advisor. I would say that of course a skyline does not need to be released. Does a neighborhood street need to be released? Is a street a location? That answer is determined by the show, or licensor of the clip. Legal departments have differing points of view on this issue. Does a public museum need to be released? Again, that is up to the licensor. We do the research to determine who built and owns the property and share that information with our clients. 

FN: Generally speaking, how do you obtain a location release? What is involved?

PL: We keep lists of those categories of properties that are in demand and are the best revenue earners. We share that with our top earning and best cinematographers. They go out and scout, secure releases, and shoot locations. We check releases as the footage comes in to us for ingestion. We also counsel shooters on what and what not to shoot as well as what may or may not be working about their clips and how they are shooting them.

FN: Is the licensing process different for released locations? Does your license indicate that the location is released?

PL: A location is listed as released in the metadata with each clip on our website.

FN: Are there certain types of location releases that are really hard to get?

PL: Hotels are very hard to get released, airports are impossible, and hospitals are hard. Churches too. 

FN:  Do released locations cost more to license?

PL: No, we charge the same. We have a couple of locations that have “premium pricing.” One is aerial footage over Washington, DC near the White House, and The Pentagon. That is because the shooter had to pay a lot for the permits. 

FN: How big is your collection of released location footage?

PL: Tens of thousands of clips. Location-Released clips and Rights-Released playback clips are the areas FootageBank specializes in. 

FN: How do you obtain the releases? 

PL: Each DP has their secrets; I have to say it is a personality thing. It is harder in other countries because of the language barrier but we are getting more all the time because we have someone full time in Europe and Eastern Europe. All our DPs pay a location fee and if a location is used a lot (such as the Bones house) we go back and pay the owner of the location extra fees.

FN: Is there a Holy Grail of location releases? Some place or building that is absolutely impossible to get released but that you would love to have in your collection?

PL: Anything recognizable and current in North Korea, Afghanistan and Iraq. More practically, almost anything can be released if you have the revenue. But that is the territory for location shooters on feature films. For FootageBank, I am currently looking for arenas and sports stadiums (I am working with a new supplier with many but am busy doing due diligence on releases). 

Another Holy Grail has more to do with access as opposed to releases. That is close shots of airports, bridges, ports, and borders. Since 9/11 Homeland Security is very watchful about anyone filming/recording near these locations. My cinematographers have been “rolled up on” by the police in numerous cities, numerous times, and even taken into custody because they were filming too close. Once was near the Lincoln Tunnel in NYC, twice at the San Pedro Port here in Los Angeles, and once was near the Lawrence Livermore Lab in California. If we had the footage we would not need the release, we wanted good medium access and tight shots of the locations.


StormStock DP Martin Lisius Tracks and Films “Perfect Storm” in Nebraska

StormStock founder and cinematographer Martin Lisius intercepted a “mega-supercell” thunderstorm in Nebraska last week and filmed it on 4K and 6K video. The isolated storm tracked across the rural Nebraska Sand Hills region for several hours producing tornadoes, giant hail and continuous lightning.
A supercell is a thunderstorm with a persistent, rotating updraft. They are the rarest thunderstorm type in the world, and the most prolific producer of significant tornadoes and large hail. Even less common is the “mega-supercell” which is one that is large, long-lived, and is so powerful it produces its own area wind field.
“I’ve only seen a handful of mega-supercells in my 30 years of photographing storms,” said Lisius who does his own forecasting. “The Sand Hills storm was rotating hard and was almost fully on the ground at times. It was like a massive vacuum cleaner and a tennis ball size ice machine maker rolled into one. The cell became the perfect storm because it tracked southeast, almost 90 degrees to the right of the southwesterly steering winds aloft, directly into moist, southeast surface winds and a 4500 j/kg CAPE axis. In effect, it was a supercell with a turbocharger.”
A portion of the material will be available for licensing through StormStock, while some will be reserved for Lisius’ 4K documentary about supercells which is currently in production.

Footage Award Winners Honored at FOCAL’s 13th Annual Gala Awards

The 13th annual FOCAL International Awards in association with AP Archive took place last Thursday night at The Lancaster London Hotel, honoring producers, filmmakers and other creative professionals who have used library footage in a documentary, feature film or any other form of production released in 2015.  The BBC’s Kate Adie hosted the gala ceremony, which also served as an occasion to bid farewell to event organizer Julie Lewis, who is retiring from FOCAL this year. Under Lewis’s leadership, the FOCAL Awards have evolved over the last decade into a major event in the archival production community.

“The success of the awards over the last thirteen years has been due in large part to the energy, drive and commitment of Julie Lewis,” said Sue Malden, Chair of FOCAL International. “It is both a highly polished event and a major annual destination among the global production community. Her contribution to the event and to FOCAL itself has been indispensable and will be greatly missed.”

Awards in sixteen categories, including Lifetime Achievement, were handed out and several high-profile documentaries took home top honors. Academy Award Winner Amy, about the life of Amy Winehouse, won the Award for Best Use of Footage in both the Music Production and Cinema Release categories, edging out Cobain: Montage of Heck in both categories. Archive Producer Paul Bell was there to collect both awards.

The Black Panthers: Vanguard of the Revolution directed by Stanley Nelson won for Best Use of Footage in a Factual Production, and Best of Enemies featuring the acerbic public debates between Gore Vidal and William F. Buckley Jr, which was short listed twice, prevailed in the Entertainment category. The BBC's Imagine strand saw off Arena: Night and Day, celebrating 40 years of the their longest running Arts series, with The Ecstasy of Wilko Johnson directed by Julien Temple.

Twenty-five European films were shortlisted for this year’s FOCAL International Awards. Among them, Every Face Has a Name, from Swedish production company Auto Images, won for the Best Use of Footage in a History Production, beating A German Youth from Local Films (France) and Red Gold from Vivement Lundi (France) whilst the Award for Best use of Sports Footage was collected by Yuzu Productions (France) for Free To Run.

The FOCAL Awards also honour the work of archival researchers, footage archivists and film preservationists, with this year’s Lifetime achievement award going to legendary film preservationist Robert Gitt. In a career spanning more than fifty years, Robert Gitt has gained an international reputation as one of the foremost experts in the preservation and restoration of motion pictures.

And while Cobain: Montage of Heck and the team at End of Movie LLC went home empty handed, Jessica Berman-Bogdan snagged the Jane Mercer Footage Researcher of the Year Award, primarily for her outstanding work on that film. 

Historic Films won the Library of the Year Award, and Tim Emblem-English formerly of BBC Studios and Post Production won for Footage Employee of the Year.

The Best Archive Restoration/Preservation Award went to The Memory of Justice and was collected by The Film Foundation's, Margaret Bodde.

Julie Lewis thanked her colleagues, the sponsors, competitors and the 80 plus jurors who had worked so hard to deliver the results and for bringing the event to where it is today. 

Please see below for a full list of all 2016 FOCAL International Awards winners.

Best Use of Footage in a History Production  - Sponsored by Getty Images / BBC Motion Gallery
•    Every Face Has a Name - Auto Images (Sweden) 

Best Use of Footage in a Current Affairs Production – Sponsored by Bloomberg Content Service
•    The Queen of Ireland - Blinder Films (Ireland)

Best Use of Footage in a Factual Production - Sponsored by Bridgeman Footage 
•    The Black Panthers: Vanguard of the Revolution - Firelight Films, Inc (USA)

Best Use of Footage in an Entertainment Production  - Sponsored by FremantleMedia Archive
•    Best of Enemies - Tremolo Productions / Magnolia Pictures (USA)

Best Use of Footage in an Arts Production - Sponsored by Film London & London's Screen Archives
•    Imagine: The Ecstasy of Wilko Johnson - Essential Arts Entertainment/Nitrate Film//BBC (UK) 

Best Use of Footage in a Music Production - Sponsored by Shutterstock 
•    Amy - On The Corner (UK)

Best Use of Sports Footage - Sponsored by ITV Sport Archive
•    Free to Run - Yuzu Productions (France) Point Prod (Switzerland) and Eklektik Productions (Belgium)

Best Use of Footage in an Advert or Short Production - Sponsored by Broadcast Tech
•    Lenor 'Odes to Clothes: Marvellous Scarf' - The Director Studio for Grey Düsseldorf (UK/Germany)

Best use of Footage about the Natural World - Sponsored by Global ImageWorks
•    The Nature of Things: Jellyfish Rule! - CBC (Canada)

Best Use of Footage on non-Television Platforms - Sponsored by Visual Data 
•    The Beatles 1+ Video Collection - Apple Corps Limited (UK)

Best Use of Footage in a Cinema Release - Sponsored by British Pathé
•    Amy - On The Corner (UK)

Best Archive Restoration / Preservation Project or Title - Sponsored by Prasad Corp
•    The Memory of Justice - The Film Foundation / Academy Film Archive (USA)

The Jane Mercer Footage Researcher of the Year Award  - Sponsored by AP Archive 
•    Jessica Berman-Bogdan (USA) for  Cobain: Montage of Heck and Narcos 

Footage Employee of the Year - Sponsored by Creative Skillset
•    Tim Emblem English (BBC Studios and Post Production)

Footage Library of the Year - Sponsored by Bonded Services
•    Historic Films Archive

Lifetime Achievement Award - A gift of the FOCAL International Executive
•    Robert Gitt


Reelin' in the Years Works to Preserve the David Frost Archive

by David Peck, President, Reelin' in the Years Productions

For almost two years, my company Reelin’ In The Years Productions, has been representing The Sir David Frost Archive, and in that time many unique items have been discovered in the vaults.  Because David Frost had produced many different programs for various companies around the globe, it has made it very difficult to locate master tapes and films.  From the moment we signed the agreement to be the exclusive rep for The Sir David Frost Archive, one of the monumental shows he produced that we very much wanted to represent was The David Frost Show, produced by Group W and David Frost.
The David Frost Show was a 90 minute syndicated program which aired daily from 1969 – 1972.  As co-producer, David Frost owned 50% of the rights, but Group W and its successor (now CBS/CTV)  had been handling all distribution rights, including clip sales. Through a series of negotiations between David Frost’s estate and CBS, all of the distribution rights to the show have been given back to the estate. This includes nearly 400 2 inch quad tapes and many film elements as well. On behalf of the Sir David Frost Estate, Reelin’ In The Years Productions is now the sole company that handles the rights to licensing this footage. Most of these tapes have been untouched since their initial broadcast. To date, roughly half of the 400 shows that survived have been transferred. (There were 750 episodes aired.)
The David Frost Show is an amazing time capsule of one of the most contentious and creative periods  of the 20th century. During the course of the show’s run from 1969 to 1972, David interviewed high profile guests such as Gloria Steinem, Cesar Chavez, Huey Newton, Vice President Sprio Agnew, Israeli Prime Minister Golda Mier, former Nazi Party Official Albert Speer, and a 20-year-old Prince Charles. There were many entertaining guests, comedians, singers, actors and sports figures such as Johnny Carson (in a rare 90 minute interview), Groucho Marx, 1936 gold medal Olympian Jesse Owens, Jackie Robinson, Lucille Ball together with Carol Burnett, Norman Rockwell and playwright Tennessee Williams. Major music artists such as the Rolling Stones, John Lennon, Barbra Streisand, Duke Ellington, Stevie Wonder and Carly Simon all made appearances as well. Many controversial and polarizing subjects were discussed and debated such as the Vietnam War, the Kent State shootings, Black Power, the women’s liberation movement, gun rights, drug legalization and the Apollo moon landing. Looking at all of the guests and issues discussed on this show makes this a very well-rounded program, accurately capturing the time period. 
For decades, the 2 Inch Quad tapes had been sitting untouched in an underground storage facility, but we now have the tapes in our care. Thankfully, we have David Crosthwait of DC Video (Located In Burbank, CA) doing all the transfers. It’s an incredible expense to transfer these if you want them done right, and many times David has to work miracles to get these tapes to play at all.  These David Frost Show 2 Inch Quad tapes are in terrible shape. They were originally preserved on used stock and Group W would store two 90-minute shows per tape at 7 ½ ips instead of the industry standard of 15ips. Oftentimes they would splice together varying lengths of used stock to fill out the reel and on some tapes you could have as many as three different brands of stock during the course of the two shows. Even with all of these obstacles the tapes look and sound great but that’s because of the laborious amount of work David has had to do to get them that way. In some cases, it has taken David 10 hours of work to properly transfer one 90 minute show. While this may not have been the most ideal way to preserve this important part of cultural and entertainment history just think of all the shows (such as the first 10 years of the Tonight Show) that were erased, and be thankful that someone at Group W had the foresight to try and save these treasures so that almost 50 years later they can be seen again. 
I look at what David Crosthwait and others like him are doing in the same way I see a professional who restores deteriorating paintings or artifacts found in a ship wreck. Simply, this is preserving history. It's a shame that there are so many film snobs out there who don't agree, thinking that only something shot on film warrants this type of expense and attention. Sadly, that attitude is why so much of this type of video tape archive rots in storage facilities.  The entertainment industry often looks at video tape as some type of sub form not worthy of the expense and attention it deserves.  So many times I read comments about film preservation being the only thing that matters, and while that is important, so is video tape. 
At the end of the day, it’s not what media it’s on but what’s on the media. I’m hoping as an industry we can get past elitist attitudes and try to preserve this material, regardless of the format it was shot on. This is our collective history, whether it’s a silent film from 1919 or an interview from The David Frost Show we just found and preserved with NASA director Clifford Charlesworth talking about the Apollo 11 mission to the moon just days before it happened. These are both equally important moments in our history and should be treated as such. 
Finally, to show you how incredible this archive is, we've cut a 13 minute trailer. 

ITN Signs Deal to License Twofour Group Footage

Impossible Engineering

Impossible Engineering

ITN Source has signed a deal to license clips footage from Twofour Group; a family of award-winning, globally recognised production companies, which includes Twofour, Boomerang, Mainstreet Pictures and BAFTA/Emmy winners Oxford Scientific Films.

Twofour delivers world class international TV programming, spanning drama, factual, comedy and entertainment, to broadcasters around the world. Twofour Rights is its in-house distribution arm, representing the Twofour Group’s extensive catalogue of global programming within the international marketplace. In this new partnership for clip sales, Twofour's library includes globally recognisable hits, such as TV's 'toughest reality show The Jump (Channel 4), all-star The Indian Dream Hotel aka The Real Marigold Hotel (BBC / UK), in-depth true crime series Born to Kill? (Global Distribution), and awe-inspiring achievements in Impossible Engineering. 

ITN Source Managing Director Andy Williams said: “We are delighted to add Twofour’s fantastic range of programming to our global catalogue – making clips from household hits such as Impossible Engineering and The Indian Dream Hotel / The Real Marigold Hotel available to our customers.”
Twofour's Head of Sales Anthony Appell said: "We are thrilled to be partnering up with ITN Source on Twofour Rights back catalogue of clip opportunities given their excellent reputation in the global market."

If you're interested in licensing Twofour clips please contact or call +44 (0)207 430 4480 to discuss your project and footage requirements.   

Enter the Legend of the Tour de France

Running from July 2nd to July 24th 2016, the 103th Tour de France will be made up of 21 stages and will cover a total distance of 3,519 kilometres.

This new edition is the opportunity to relive the most memorable stages, the unforgettable breakaways and the moments of joy and suffering of this mythical cycling race from 1947 to the present day.

To get more info about this collection made by Amaury Sport Organisation (ASO) and INA, please email at

ACSIL to Host Second Annual Footage Expo in NYC on June 9, 2016


The Association of Commercial Stock Image Licensors (ACSIL), a not-for-profit trade association representing the interests of the stock footage industry, is holding its second annual Footage Expo at New York City’s stately Prince George Ballroom on Thursday, June 9, 2016.  

Many of the world’s leading providers of stock and archival footage will exhibit at this year’s Expo, which will also include panels on a variety of topics pertinent to the footage business featuring senior leaders in media, production and the archive industry.

There has been significant growth in the footage business in the last five years, as well as changing business models.  A new customer base empowered by digital technologies is pushing demand for stock and archival imagery, including new customers in the areas of corporate non-broadcast, internet video and educational publishing.

ACSIL expects attendance from media executives, film and movie producers, educational administrators, archival researchers, digital publishers, corporate and advertising agencies, and others involved in communicating with video.

Further information about exhibitor and attendee registration and panel sessions is available at:

FootageBank: Going the Distance

As a boutique footage agency, FootageBank has always been proud of its “small but mighty” status. Building on this legacy, FootageBank is proud to announce that it recently signed Lagardère Sports – a premier international sports licensing agency – for representation, and can now offer more fully-released elite sports footage to pack productions with dynamic action.

FootageBank founder Paula Lumbard explains, “Both footage licensors and footage suppliers come to us because we carefully manage the rights to the clips we offer. It is only with integrity, respect, and understanding of rights-management that these relationships can be successful. At FootageBank, we specialize in such partnerships.”

From the grit of the goal to the heat of the hit, this fully-released footage collection includes soccer, tennis, hockey, gymnastics, distance running, basketball, and more. Requiring no more than script page approval, finding the right sports clips for productions is easier than ever. Contact FootageBank for search assistance or sample the footage here

Global ImageWorks Offers a Unique Portal Into Politics

Global ImageWorks' politics collection covers the everyday and the exceptional moments.
GIW has incomparable coverage of presidential candidate Barack Obama on the 2008 campaign trail. This incredible footage comes from the award winning film, By The People - The Election of Barack Obama.  GIW gives you unprecedented access to Obama attending rallies, makings speeches, and mixing with Edward Kennedy, Oprah Winfrey, along with other celebrities and political supporters. This collection also includes footage of Hillary Clinton, John Edwards, and John McCain's campaigns.   
Engage with our 1992 election collection of Bill Clinton campaign footage featuring speeches, events, interviews, and some special footage of a young Hillary Clinton on the campaign trail.
GIW's political collection covers a range of political issues. From the Civil Rights Movement and school segregation of the 1950s, the anti-war protests of the 1960s, the groundbreaking Dick Cavett political interviews from the 1970s to coverage of the 1980s Reagan Presidency. Footage of President Bush in the 1990s, an exclusive interview with Dick Cheney in his Haliburton years and the George W. Presidency , plus extensive footage from 9/11 and the Iraq Invasion in the 2000s.
Also available at GIW: establishing shots of flags waving, voting booths, state and federal government buildings, international political landmarks and events.

Science Photo Library, the leading source for science images and footage, joins

Preview clips from Science Photo Library (SPL) are now available for viewing through Science Photo Library (SPL) offers a compelling motion collection and features the best scientific footage from around the globe, covering all aspects of science, technology and the natural world. SPL provides creative professionals with striking specialist imagery and footage, unrivaled in quality, accuracy and depth of information.

“Science Photo Library is a great collection and adds a new depth to our platform in the area of science footage,” said David Seevers, CMO. “We’re very excited about the new partnership to further expose SPL’s world-class footage collection to the global production community.”  

“SPL is delighted to make our fascinating science footage available to the network of creative professionals. Our intriguing and difficult to source content is acquired from a global network of specialists contributors, including professional videographers and world renowned scientific institutions. We are thrilled to present this extraordinary collection through the platform”, says Simon Stone Science Photo Library’s Sales Director.

SPL works alongside leading science and medical experts who capture the exceptional and deliver science in any format. This extraordinary motion collection offers a wide range of high quality specialist video clips available in high definition with a significant collection of stunning ultra-high definition footage. 

For more information, please contact David Seevers, Chief Marketing Officer at, or Simon Stone, Science Photo Library Sales Director at