With roughly four times the pixels of standard HD footage (8.3 million versus 2 million), 4K footage offers remarkable sharpness, a great sense of depth and a much subtler color range. As 4K is quickly becoming commonplace in the footage business, we thought we'd ask a group of experts, including Carol Martin of FootageBank, Sterling Zunbrunn of Nature Footage and Peter Carstens of Framepool, to weigh in on the ins and outs of working with this exciting format.

Footage.net: What are the two or three most critical things a client needs to know about obtaining and using 4K stock footage?

Carol Martin: Size, size and size. The large file sizes have an impact on storage space needed, delivery options and viewability. Assuming a high-end codec is being used to preserve as much data as possible, the files will be cumbersome in many ways. Whatever editing system is being used, a lightning fast processor will be needed to view the clips, storage space will burn up at roughly three to four times the rate of HD, and files are generally too large to transfer over the internet.

Sterling Zumbrunn: 4K has to be seen to be believed. Once you move past screens that are 70 inches or larger, the differences are unmistakable. The additional resolution is a massive leap forward over HD. That said, 4K takes serious computing horsepower to work with. Even just viewing 4K footage at full resolution requires a computer with a fast processor and strong graphics card.

Peter Carstens: The client should consider if a 4K format is needed indeed, or is it just a trend or something he has heard of. The 4K shots can also be delivered in 1920x1080. The client also needs to consider higher production/editing costs, longer download times for master footage, and huge file sizes which are not easy to handle or to view.

FN: Given the dauntingly large file sizes, how do you deliver 4K footage to clients?

Carol Martin: Hard drive transfers are preferred. One to two small files can also fit on a Data DVD.

Sterling Zumbrunn: We deliver 4K+ files to our clients via our FTP server, but the files are so large that the speeds available are not adequate for transferring media in a reasonable timeframe. For this reason, we have invested in Aspera technology, which allows for peer-to-peer transfers using nearly 100% of available bandwidth. This is going to make it easier for our contributors to submit their 4K+ files, and it will deliver a better experience to our clients accessing their purchased clips.

Peter Carstens: Most shots are delivered via FTP like all other footage. Growing Internet speeds (and possible compression formats) make this possible. So far, we're able to provide 4K to the remote places of the world. In specific cases, and if the amount of shots exceed somebody's download possibilities and patience (since it would have to be done overnight, or even longer), 4K footage is delivered on hard drives.

FN: Is all 4K footage the same or are some versions of 4K better than others?
CM: As with any video format, codec is key to quality. A 4K file in the H.264 codec, for example, may have the aspect ratio of 4K but not an acceptable resolution for some end users. The cameras that capture with the least compression create the largest but highest resolution files.

Sterling Zumbrunn: There is a big difference among various 4K cameras. Consumer cameras such as the GoPro or the new Panasonic GH4 capture footage in a highly compressed format that is not optimal for many of our clients' needs. Further, the GoPro only captures at 15 frames per second, so the clips must be sped up. It's not a serious solution for 4K capture. The industry has gravitated toward the RED workflow, and nearly all of our clients request RED R3D RAW files when they are available. The advantages of starting with a raw file are numerous, as it offers colorists incredible flexibility for matching the look of their production while maintaining maximum quality. The RED DRAGON promises to deliver the best quality yet at 6K resolution, which is an astonishing 19 Megapixels per frame. Clients working on IMAX features and other large format film projects are excited about the additional resolution.

Peter Carstens: While people talk in common about 4K, the 4K standard image sizes for cinema and consumer TV (UHDTV) vary. Various clients have been asking for 4K in different sizes, but sometimes it was just a mistake since people still have to adjust to the new high-end format. The final 4K format to be delivered depends on the production type or depends on what the producer wants to achieve. Important is not only the size, but the technical recording parameters and technology.

FN: Is demand increasing for 4K?

Carol Martin: The demand for 4K is steadily increasing. Just like television was protecting for future HD delivery fifteen to twenty years ago by preferring access to film elements, many productions are currently protecting for future 2K and 4K delivery by accessing those formats when possible, even if the end product is not currently being delivered in 4K.

Sterling Zumbrunn: Demand is quickly increasing for 4K+, among all sorts of clients. We are in the process of re-acquiring all of our subjects in 4K. It's a great opportunity for cinematographers to re-shoot existing content.

Peter Carstens: Yes, with 4K TV prices falling, the consumers constantly wanting to have better picture quality, and channels now creating 4K VOD outlets, the demand for 4K is growing quickly. In order not to miss out in the future distribution of their productions, producers adapt to high end formats if costs are feasible.

FN: What kinds of clients are asking for 4K?

Carol Martin: Primarily feature films are asking for 4K. Secondarily, venues such as museums have embraced the format for its ability to stun the viewer in an educational setting. Some aesthetically higher-end television shows are currently being produced in 4K and some television shows which have proved hugely popular are using 4K for archiving reasons, even though neither are being broadcast in 4K yet.

Sterling Zumbrunn: All kinds of clients are asking for 4K. Theatrical clients always want 4K to deliver maximum on-screen quality. But even broadcast clients want to future-proof their productions in the event that they have the opportunity to repurpose it. We are also seeing growing demand from businesses and consumers that want to feature 4K displays for video decor.

Peter Carstens: Movie productions (cinema) and shots for CGI/VFX work, but also often TV movies, and high end corporate productions, as well some commercials.

For the second installment in our regular series featuring expert advice from professionals in the footage/production community, we asked our friends at Global ImageWorks, Jessica Berman-Bogdan and Cathy Carapella, for some tips on negotiating with footage archives and getting the rights your need. As leaders in both footage licensing and footage research & clearance, Jessica and Cathy are in a unique position to offer insights on this fundamental step in the footage acquisition process.

Footage.net: What would you tell someone who has never licensed footage before?

Global ImageWorks: The best way to negotiate with a footage archive and get the rights you need is for you to know what you need and what you can afford before you approach the archive. If you're a knowledgeable consumer of archival & stock footage, the licensing process will be smooth and straightforward. If you jump into the process without any forethought, information or knowledge, your experience will be less favorable. In 2014 the footage and moving imagery eco-system offers something for everyone at price points that did not exist a decade ago. Do your homework. If you truly have no money, explore the world of microstock and find sources that will license footage for a few dollars. Don't expect to get the money shot, when you have no money.

FN: What role do rights play in setting a price?

GIW: When calculating an appropriate licensing fee, the Grant of Rights (GOR) can account for 50% or more of the equation and, typically, the broader the GOR, the higher the license fee. The type of footage you're licensing and how you plan to incorporate the footage into the new work are also key factors. Often the more unique, one-of-a-kind footage will be licensed for a higher fee.

FN: What are the key components of a rights grant?

GIW: The key components of the rights grant are term, territory and media. The tricky part is defining the "media." At Global ImageWorks, we look at how and where the new work is being viewed or consumed as opposed to the technology that delivers the program.

FN: Is there a fairly standard set of terms used in the archive business to refer to specific rights or does each archive have its own vocabulary?

GIW: The language used in the footage-licensing field has become more or less standardized over the past 5 to 7 years. Spend an hour or so on a few different archives' websites and you can learn the terminology of the trade. If you're consistent with your requests, you'll increase the likelihood of producing consistent results.

FN: How do you figure out which rights you need?

GIW: The primary GOR should run parallel to your known distribution. Secondary, more speculative distribution options can be negotiated up front and then exercised at a later time. If you know where the program will air, tell the archive. You never know, you may qualify for a preferred rate that has been pre-negotiated by a broadcaster.

FN: Do all producers want All Media Rights?

GIW: While footage is licensed by a variety of users who do not request or require broad rights (like museums, corporate videos, educational institutions, public location), most producers of consumer-based programs do ask for all media, worldwide, in perpetuity. Usually, this broad grant of rights is required by broadcasters or distributors.

FN: How critical is it to clear All Media rights up front?

GIW: It's certainly preferable all around to secure all the required rights up front. Securing all rights up front rather than building in multiple step-up options will usually get you a better overall rate. However, it's not always affordable or feasible to do this, especially if there is no distribution mechanism in place.

FN: What if you can't afford All Media rights?

GIW: If you can't afford to secure all rights up front, it's advisable to discuss licensing options with an archive and have these options included as possible upgrades in the licensing agreement. Options usually have some type of time limitation as to when they can be exercised. It's also helpful to know the costs you'll need to pay to secure additional rights when negotiating with distributors. Narrowing the GOR is another good cost control option. In our experience, oftentimes clients really don't need "theatrical rights," for example. Overall, if you're not required to deliver this broad rights package or if the budget isn't there, don't ask for rights you really don't need.

FN: What if you need to come back at some later date to clear more rights? Are most archives willing to work with you on this?

GIW: Most archives are quite pleased when you come back and are willing to negotiate additional licensing fees in good faith.

FN: Generally speaking, are archives willing to provide the rights you need or are there specific rights or categories of rights that are difficult to clear?

GIW: Footage archives will almost always grant broad rights if you have the budget to acquire them. If there are complicated third party rights or restricted rights, a license agreement might indicate that you will be required to clear such third party rights as required or necessary.

FN: Are the archives willing to negotiate on price?

GIW: Absolutely! Most archives want to have their footage licensed and want to support the production community. Archives can be flexible but only to a point. Keep in mind there's a range within which archives can operate. If you're outside that range, you need to be able to justify why you should get a reduced fee.

FN: How do you generally initiate a conversation about price?

GIW: Before the conversation even begins, educate yourself. Visit the archive's website. Don't begin by saying you have no budget. Know what footage they have and how they charge and if the archive has what you want within a price range you can possibly afford. Fill out the archive's request form or send a thorough request. Both parties need to have the same primary information in front of them when they begin the negotiation.

FN: Should you talk about your budget?

GIW: Yes. The requestor is equally responsible for driving the money talks. Know what you want, know what you have to spend and know when you need it. If an archive asks you to recommend a fee - do so thoughtfully. We, at Global ImageWorks, want to make our clients happy with the licensing fees as well as with our footage. If your offer is reasonable and doable, we will accept the offer and move quickly to close the deal.

FN: Is it a good idea to focus your order on one archive?

GIW: Volume is definitely one way to bring down your costs.

FN: Are there some best practices you would recommend adopting that tend to lead to better deal making?

GIW: Plan your footage use, costs and schedule in pre-production. Do good research; know who has what content, know what fees to expect and be aware of the other costs you might encounter (i.e. screeners & masters). Know about possible third party rights that will require additional consideration (i.e. music, talent, guilds & unions). Put a plan together for dealing with these in pre-production. Trying to figure this out towards the end of the project can be very stressful. Know that the "best" deal is not always the one with the lowest fee. Consider consulting with or hiring a professional footage researcher or clearance professional.

News & Notes About the Footage Industry

Getting Started with 4K Footage