50 Years Ago - The Assassination of Martin Luther King Jr. from NBCUniversal Archives

It was April 4, 1968 and Martin Luther King Jr. was in Memphis, Tennessee, to march with the city's striking sanitation workers. That evening, on the balcony of the Lorraine Motel in Memphis, Martin Luther King Jr. was shot and killed.
 
King, born in Georgia in 1929, had spent more than a decade fighting for civil rights. He was instrumental in the success of the Montgomery bus boycott, the March on Washington, and the march from Selma to Montgomery. His work had been dangerous and grueling. King had almost died from a stab wound, his home had been bombed, and he had been jailed over twenty times though the years. Nevertheless he persisted, and in 1964, King was awarded the Nobel Peace Prize. In 1964 and 1965, he watched President Johnson sign the Civil Rights and Voting Rights acts into law.
 

In honor of MLK, NBCUniversal Archives has assembled highlights from his life and his work in the civil rights movement.
To view, download and license this footage, go to: Martin Luther King, Jr. at NBCUniversal Archives.

FootageBank Tackles Mixed Martial Arts

In January, FootageBank produced a series of MMA fights and training sequences to offer its clients a fully-released solution to their extreme fighting needs. The footage features The Silver Bullet and The Spartan, two Los Angeles based competitive MMA fighters, more familiarly known as Dima and Christos.

Dima and Christos punched, kicked, tussled, and flung sweat all over Cary Hubbs (FootageBank’s Prague-based cinematographer), as he captured the action on two Canon C300 Mark II cameras. This full-released footage adds a timely and exciting option for all productions and complements FootageBank’s increasing sports playback collection which also includes released soccer, hockey, football, basketball, and much more.

Get Adventurous with Global ImageWorks

Feeling adventurous? Let Global ImageWorks take you there...With photos and footage from Global ImageWorks, the world is yours! Take a drive on the coast of 1970's French Riviera or a road trip down an American highway.
 
Click here to view their Photo collection.
 
Don't stop there...GIW's selection of scene settings images range from Route 66 to a picturesque Iranian village. Their footage and photos are not just glimpses of the past and present, but stories waiting to be told. 
 
Click here to see photos of our world, both past and present.
 
Find what inspires you...Whether it's the unique signage of a 1960's drive-in, fall foliage or other worldly destinations, a search on our website will get there. 

Footage.net to Showcase Leading Footage Companies & Industry Directory at NAB

Six prominent footage companies have signed on so far to take part in Footage.net’s 2018 NAB exhibition, set to take place April 9-12 at the Las Vegas Convention Center. Current participants include Bridgeman Images, FootageBank, Global ImageWorks, INA, Reelin’ in the Years Productions and the WPA Film Library. More footage companies are expected to sign on soon.

Footage.net’s NAB exhibit will also include their new directory of footage companies, which is currently in production and includes listings for over 175 footage companies. The printed directory will be distributed for free at NAB 2018.

“This will be our sixth time exhibiting at NAB,” said David Seevers, Footage.net chief marketing officer. “It’s a huge event with over 100,000 attendees from all parts of the production industry, many of whom are interested in learning about our site, our footage partners and the footage industry in general. That’s why we always invite our footage partners to take part in our exhibition, and that’s why we’re publishing our footage industry directory and making it available at the show.”

The 2018 NAB Show is set to take place from April 9-12 at the Las Vegas Convention Center. The Footage.net booth will be located in the South Hall, Lower, #SL8907.

2017: A Year in the Footage Business

2017 was an exciting, eventful year in the footage industry. A large number of high-profile archive-based documentaries were released throughout the year, and archival docs did very well at all the major award ceremonies. While increased demand for footage benefited many suppliers, two major footage houses, ITN Source and Framepool, either ceased operations or changed hands, and their transitions sent shockwaves throughout the industry. Change was afoot among various footage industry trade groups as well, with new management at FOCAL and a for-sale announcement at Visual Connections. Overall, a few things became clear in 2017: the audience for archive-based programming is strong; competition among footage suppliers is intensifying; and industry stakeholders are adapting to a shifting business landscape. 

Archive-Based Programming

A prominent slate of high-profile archive-based docs premiered in 2017 across all major cable networks, PBS, Amazon and Netflix, as well as in theaters. These films, some years in the making, others produced on the fly, showed the depth and versatility of the archival form, tapping both commercial and newly uncovered sources.

“There’s been a renaissance of big, premium archive projects, driven in large part by OTT,” said Matt White, executive director of industry group ACSIL and a co-producer of The Beatles: Eight Days a Week. “Audiences love archives. It really resonates with them and that is why you are seeing the likes of Netflix and Amazon competing for these prestige projects.”

Standout archive-based docs from 2017 include The Vietnam War (PBS); Long Strange Trip (Amazon); Five Who Came Back (Netflix); Jane, released in theaters on October 20, 2017; LA 92 (National Geographic Channel); Oklahoma City (PBS); Trumped: Inside the Greatest Political Upset of All Time (Showtime); and The Great War (PBS).

Support for archive-based programming has grown over the last few years, as broadcasters and subscription video on demand services like Netflix and Amazon have recognized the value of original premium non-fiction programming with marquee subject matter and built-in audiences.

“A few years ago, I was at a conference where several non-fiction producers said, ‘archive docs are dead’,” said veteran documentary filmmaker Tom Jennings. “That really made me mad because I felt like, I haven’t finished watching all the archive I want to see yet! I think what happened during the past year is people realized that archive is as close as you can get to the truth of a story.  Today, everyone wants to see video or hear audio of an event to prove that it actually happened.  If there’s no video, it’s almost as if something isn’t real.  In a very weird, oblique way, we can probably thank our smart phones for the resurgence of archive shows. If an event has images attached to it, people will believe it.  Extrapolate that out to moments in history.  I think audiences want to see what the real people involved in a story were like, what life was like for them, how people behaved, dressed and talked.  If you can show the real thing, and do it in a way that’s entertaining, people will watch and say, ‘wow’.”

Big Award Wins for Archive Docs

Archive docs had a huge presence at all the big awards ceremonies this year. OJ: Made in America, an archival opus, won the Academy Award for Best Documentary. Of the other four nominees, two were archive-rich films: I Am Not Your Negro and 13th.

At the Emmys, LA 92 won for Exceptional Merit In Documentary Filmmaking; OJ: Made in America won for Outstanding Directing for a Nonfiction Program; and 13th won one Emmy for Outstanding Documentary or Nonfiction Special, and another for Outstanding Writing For a Nonfiction Program. The Challenger Disaster: Lost Tapes, won for Best Research.

The Beatles: Eight Days a Week The Touring Years won the Grammy for Best Music Film, as well as two FOCAL Awards - one for Best Use of Footage in a Music Production, and another for Best Use of Footage in a Cinema Release.

LA 92 won the ABC News VideoSource Award at the 2017 IDA Documentary Awards.

News from the Suppliers

Many footage providers reported positive results throughout 2017.

"2017 has been a very encouraging year for the footage licensing industry - both in witnessing the continued, meteoric rise in consumption of footage and in the rejuvenation and recognition of the importance of archival content,” said Ed Whitley, president, North & South America America, at Bridgeman Images, and president of trade group ACSIL.

That said, not every footage company had a great year.  Two high-profile footage suppliers, ITN Source and Framepool, either ceased independent operations or changed hands.

ITN Source, one of the world’s leading footage suppliers, closed its doors in June and entered an exclusive multi-year distribution partnership with Getty Images, shifting “over one million clips spanning more than 60 years of iconic news footage” to Getty’s global distribution platform.

Framepool, the German-based international footage agency established in 2001 by Stephen Bleek, was sold through bankruptcy proceedings in Germany to RightSmith Group, a Los Angeles-based footage agency with foreign subsidiaries in Japan, Australia, and the UK. The newly established German subsidiary, “Framepool RS GmbH” assumed Framepool’s business operations with all employees and over 95% of the footage portfolio with retrospective effect as of June 1st, 2017.

Both ITN Source and Framepool were significant players in the footage business, and the news of their altered circumstances was a source of concern throughout the global footage community, highlighting the increased competitive pressure brought about in large part by the rise of online marketplaces such as Shutterstock, Pond 5, VideoBlocks and, most recently, Adobe Stock, which has caused many footage companies to lower license fees and rethink their distribution strategies.

And while more industry consolidation is possible if not likely as traditional footage suppliers reckon with these new competitive realities, the realignments of 2017 also created new distribution opportunities for independent footage suppliers, a parallel trend that may continue to play out over the next few years.

The changeover at ITN, for example, freed up two very important archives, ITV and Reuters, both of which made representation deals with smaller independent footage suppliers. ITV struck representation deals with both LOLA Clips and Reelin’ in the Years Productions, and Reuters partnered with Screenocean. These developments are arguably positive for the footage business as a whole, as they empower independent footage houses and enhance the overall diversity of suppliers in the market.

“There’s no doubt that Screenocean has benefitted from ITN’s closing, but we have to work hard to maintain profitability and, at the same time, deliver a quality global service,” said Tony Blake, Screenocean chairman. “Scale is the challenge for the footage industry, we’ve seen a few large aggregators come and go in recent years, demonstrating it’s not just about adding more and more collections. Screenocean has the advantage of being partnered with Imagen, the best media platform developer in the business, add that to our unique offering of independently branded representations, and we offer an unambiguous choice for all our customers.”

Over the summer, ITV struck two representation deals in North America, making LOLA Clips its exclusive footage distributor for the overall ITV Collection in North America, and granting Reelin’ in the Years Productions exclusive representation in North America of ITV’s musical footage holdings.

“ITN Source’s relatively abrupt departure left a lot of opportunity for LOLA and many other independent archives,” said Dominic Dare. “Our existing knowledge of the ITV catalogue, as well our longstanding relationships with the personnel left behind by ITN, were critical factors in landing the ITV representation deal. Our goal now is to ensure that the ITV collection is appreciated for what it is – an outstanding gem.”

"We are honored to be able to exclusively represent ITV's vast music archive here in North America,” said David Peck. “The ITV music footage archive houses thousands of performances spanning six decades including iconic moments, from The Beatles at The Cavern Club in 1962 to the Sex Pistols debut on TV in 1976. Now with ITV's music footage, along with our 20,000 hours of music footage spanning 90 years and 7,000 hours of in-depth interviews with the 20th century’s icons of film and television, politics, comedy, literature, art, science, fashion and sports, Reelin’ In The Years is one of the industry's leading sources for footage of musical artists, entertainers and history makers."

The acquisition of Framepool was a huge step forward for RightSmith, a relative newcomer to the footage industry, which also represents The Amazing Race collection and the NBC Universal collection.

“We’re excited to be growing, expanding accessibility and offering unique collections like Framepool,” said Jackie Mountain, RightSmith president. “We think it is good for the industry and for buyers to have more options as opposed to seeing premium content available from just a few providers.”

Trade Groups and Expos

Change was in progress at the main footage trade organizations throughout 2017, including FOCAL, ACSIL and the stock media expo company Visual Connections, as each group sought to respond to the shifts in the footage industry. 

FOCAL Under New Management

2017 was a year of transition at FOCAL with Madeline Bates and Mary Egan joining the company as co-General Managers, bringing their charismatic leadership and wide-ranging experience within the media sector, covering education, production and commercial activities, to ensure FOCAL celebrates and champions the use of archival footage across all forms of creative platforms.  Over the last twelve months they have introduced new networking opportunities such as ‘Breakfast with the Archives’, which allows members to showcase their collections and connect with archive researchers, producers and other content-creators.  FOCAL also continued to hold the researchers’ educational workshops, the Jane Mercer Memorial Lecture as well as the prestigious FOCAL Awards.  Both Madeline and Mary attended various media conference in the UK, North America and Europe to promote the work of FOCAL members, ensured engagement and the support the wider media industry. 

2018 will be an exciting year with the FOCAL Awards moving to a new location, The Troxy, a Grad II-listed Art Deco venue in London, together with the launch of the Awards entry database system and online jury portal, which streamlines the submission process. Plans are also afoot to identify better ways to help support new people looking to join the industry as well as how FOCAL can support the professional development of those already working in it. FOCAL is continuing to protect the creative industry through their advocacy work with the UK government in addition to working closely with other global organisation to share ideas and objectives to better support our community.

ACSIL

ACSIL, which held it’s Footage Expo in 2015 and 2016, pushed pause on the event in 2017 and focused on partnerships and panel presentations. “We focused 2017 on a year of partnerships, engaging with other associations to create and moderate panels to discuss the footage industry,” said Ed Whitley, ACSIL president. “2017 was a defining year for ACSIL as it saw the launch of both our new branding and our new website www.acsil.org which has given the association a fresh and contemporary look."

Visual Connections Discontinues

Visual Connections, which has held annual stock media expos for the last decade, announced that “the current owners will not be organizing expos after New York 2017,” and are “seeking a buyer that will want to continue the expo program. They are keen to facilitate a prompt sale to ensure that at least a New York expo takes place in 2018.”

Deaths

Sadly, 2017 saw the passing of long time archivist and footage savant Stephen Parr of San Francisco-based Oddball Films and the San Francisco Media Archive. A longtime member of the San Francisco avant-garde arts scene, Stephen died on October 24, 2017 at the age of 63. His family and Oddball staff are working together to ensure “a productive future” for both Oddball and the San Francisco Media Archive, and, as of this writing, Oddball continues to operate and fill footage orders. A video of his memorial, held before a standing-room only crowd at San Francisco's Roxie Theater, can be seen here.

HOsiHO Aerial Stock Collections Available on Getty Images

HOsiHO is proud to have been chosen by Getty Images and to have its highly-curated aerial stock footage distributed at this unprecedented level.

"This new visibility for our fresh and mostly French collection should bring us not only more sales, but overall more new images submitted to our growing worldwide collections by more talented aerial cinematographers," said Sami Sarkis, HOsiHO’s general manager (and himself stock-shooter for decades).

"This agreement with Getty Images is a wonderful opportunity to bring HOsiHO’s best images under the eyes of the most active and diverse buyers and is experienced as a great reward by our contributor community who worked hard with us to build this original and unique collection," Sarkis added.

HOsiHO's aerial footage is mostly shot by drones (UAV) in 4K. Always legally. The agency represents the work of more than 150 professionnal photographers and cameramen based not only in France, but worldwide. 

Sony Pictures Selects Getty Images as Exclusive Global Distribution Partner for Stock Footage

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Getty Images is now the exclusive distribution partner for stock footage from Sony Pictures. The distribution agreement will see over 160,000 clips originally filmed under the Columbia Pictures, TriStar Pictures, Screen Gems, and Sony Pictures Television banners reach an even larger audience through Getty Images’ industry-leading global platform and expert international sales team, servicing nearly one million customers.

Sony Pictures represents the world’s largest collection of stock video produced by a major motion picture studio. The collection offers unparalleled access to more than 40 years’ worth of the highest quality studio produced HD, UHD, 4K, and 35mm stock footage available anywhere in the world.

Clips of stunts, pyrotechnics, and other extremely difficult-to-produce footage are included, as well as some of the industry’s best aerials, establishers, day/night matching shots, process plates, transportation, playback, landscapes, animals, modern military footage and more. Footage will initially be available in HD with future contributions focused on growing the 4K library.

“With video becoming the fastest growing content format today, it is more important that the wide variety of content needed to create engaging videos is made available, which is why we are excited to add Sony’s high-quality content to our expanding visual content portfolio,” said Peter Orlowsky, Senior Vice President of Business Development, Strategic Development at Getty Images. “The expansive Sony Pictures stock footage collection will enable our customers all over the world to connect more deeply with their audiences.”

“The breadth and depth of the Sony Pictures stock footage library is unmatched in Hollywood, and we are thrilled to make this high-quality content available to Getty Images’ global audience,” said Jason Lambert, Executive Director of Content Licensing at Sony Pictures. “Getty Images has the scale, expertise and distribution footprint to ensure our video archive reaches the widest possible audience.”

The Amazing Race Collection Now Available Exclusively at Framepool RS for All Licensing Purposes

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High-quality aerial and drone footage, POV shots and more from thousands of locations across six continents from the Emmy Award-winning TV show. Enjoy the geographic variety and cinematographic excellence of locations such as Tanzania, Australia and the Swiss Alps — just to name a few. 

Since 2001, and over the course of 28 seasons, the TV series has consistently captured the beauty and drama of every location on which it has been filmed. Along the way, it has earned 15 Primetime Emmy awards, notably for Cinematography and Picture Editing. 

The Amazing Race is famous for its spectacular locations. Shot in all six continents its unquestionably one of the richest video archives in terms of geographic variety and cinematographic excellence. 

See the Amazing Race Highlights or experience the whole collection by going to Framepool.com Keyword AmazingRace

 

Producers Library Unearths Rare 1968 Footage of Robert F. Kennedy

 Robert Kennedy shakes hands with Cesar Chavez as Dolores Huerta looks on

Robert Kennedy shakes hands with Cesar Chavez as Dolores Huerta looks on

Hollywood-based Producers Library has unearthed in its vaults rare footage of Robert F. Kennedy’s visit to California in 1968. The spectacular footage captures Kennedy’s visit with president of the United Farm Workers (UFW), Cesar E. Chavez, along with co-founder of UFW, Dolores Huerta, when Chavez broke his 25 day long hunger strike in Delano, CA on March, 10 1968. Among other highlights is captivating footage of Kennedy’s presidential campaign visit to the Watts neighborhood of South Los Angeles in March 1968, as well as footage of his speech during the star-studded “Kennedy for President” fundraising gala at the Los Angeles Memorial Sports Arena on May 24, 1968, just a week before his assassination.

These historic events were captured in vibrant 16mm color, much with sync sound, and have now been scanned at 2K resolution. The newly available footage totals nearly 5,000 feet and runs over 2 hours and 15 minutes. It joins Producers Library’s already existing 2 hours of RFK footage and is available immediately, coinciding with the upcoming 50th anniversary of his death.

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.

Footage.net is Publishing a Printed Directory of Stock Footage Companies

We're gearing up to publish a printed directory of stock footage companies for distribution at the 2018 NAB Show in April. Listings will be drawn from our online directory, which is open to all commercial footage companies. To be included in the printed directory, footage companies will need to create or update their online listings by February 2, 2018. Listings in both the online directory and the printed version are free.

“The printed directory will serve a number of purposes,” said David Seevers, Footage.net CMO. “Even in this age of instant digital access, it’s useful to have a printed reference that brings all the companies together in one place. It’s an ideal way to introduce producers to all the great footage resources available to them. And it is something that attendees at shows like NAB will actually take home and use.”

The directory will consist of two main sections: Partner Listings and General Industry Listings. Footage.net partners will be listed in both sections.

Partner Listings

The Partner Listings will be devoted to our current search and Zap partners. The Partner Section listings will include company name, logo, a main contact, phone number, email, website, main footage categories and a brief company description.

General Industry Listings

The General Industry listings will include all the companies listed in our online directory. These listings will include company name, a designated contact, phone number, email, website and footage categories. All information from this section will be drawn from Footage.net’s online directory.

Ads & NAB Promo Package

In between these two sections will be space for ads, which will be offered as part of our NAB promo package.

How to Get Listed

Listings in the printed directory of footage companies will be drawn from our online directory. If you would like to be included in the printed directory, please go to www.footage.net/archivedirectory and create an online listing. If you currently have a listing in our online directory, but have not updated it in a while, please make sure it is up-to-date.

Deadline

The deadline for all listing information and materials is February 2, 2018.

HOsiHO Stock Agency Creates its Drone Operator Network in France!

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Nearly four years after its creation, the HOsiHO aerial stock agency broaden its offering with HOsiHO Network, its own network of local drone operators in France.

Composed of experienced pilots, selected exclusively among the most active authors of the agency, and based at the four corners of France, they are able to respond to any request concerning drone shooting needs, from international customers looking for a french creative drone operator, reliable and close to the filming site.

All have been carefully selected for the high quality of their services.

What distinguishes the HOsiHO network from another network is the direct and free connection of a prospect with the local drone correspondent: no commission is perceived by the agency. Operators members fulfilling a membership entirely intended for the promotion of the network.

The coverage of metropolitan France is almost total and the unifying principles of HOsiHO network labeled operators are:

  • Every operator radiates on the five French departments bordering his headquarter, near the shooting sites
  • A perfect knowledge of the surroundings
  • Reduced travel expenses
  • A great reactivity and very helpful for scouting
  • Homogeneous rates
  • Adherence to the network charter
  • Aerial work in accordance with French civil aviation regulations
  • The most appropriate creative and technical response to customer request
  • Have a stock of aerial images distributed through HOsiHO.com collections.

Platform operating principle :

In order to find quickly the nearest drone operator in the desired French department where the shooting might take place, simply click on the interactive map of France, divided into 95 departments. The operator page will open, and one can read its presentation and watch some videos and photos. The contacts infos are here, so the customer can easily phone the local correspondent or send a quotation request via the form, which is always sent to the nearest operator.

There is therefore no competition between drone pilots. HOsiHO network has choosen to give the bonus to proximity, on the assumption that the knowledge of the suroundings is crucial while the travel expenses lighter. All members meet the same quality and professionalism standards.

HOsiHO Network will be attending several exhibitions and specialized festivals, with a first boot at the Cine-Drones in Bordeaux (Nov. 17-18/2017), then at the FIFTI forum in Marseille (Dec. 5-7/2017).

The Evolution of Natural History Footage

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Natural history, a content category including wildlife, earth science and weather footage, is home to some of the most dramatic, breathtaking and expressive images in the footage market. Advanced production technology, now accessible to both experts and non-traditional filmmakers, is having a huge impact, both on how these images are captured, as well as on the quality and quantity of clips available for reuse at all price points. And while the overall natural history licensing market remains “healthy and growing,” according to Andrew Delaney, Director of Creative Content at Getty Images, it is “definitely showing higher levels of competition from greater volumes of well shot content.”

The Impact of High Tech Capture Tools

Just a few years ago, most natural history footage was shot with a telephoto lens from a semi-fixed position such as a blind or Land Rover, and aerial footage was the domain of manned aircraft equipped with expensive Cineflex rigs. Today, the availability of relatively inexpensive high-tech production tools has opened up a wider array of creative options for capturing natural history footage, and filmmakers in the field have rapidly integrated these new capture tools into their workflows.

“The core of wildlife cinematography has always been long lens photography,” said Matt Aeberhard, a leading wildlife cinematographers with nearly three decades of experience in the field. “This is changing with the advent of drones, remote cameras and other production technologies. Any major shoot is going to include remote cameras, handheld gimbals and aerial drones in order to achieve the current style of production.”

“High quality 4K camera platforms are getting smaller and ever more capable,” said Andrew Delaney of Getty Images. “Low light capture capabilities are creating new opportunities for behavioral studies. Smaller action cameras can be put anywhere and drones are being cleverly employed, not just as a cheaper alternative to helicopters, but as completely new viewpoints with minimally invasive environmental footprints.”

These tools enable skilled shooters to capture higher resolution images under more challenging circumstances, shoot from a much wider variety of perspectives, add movement to what were formerly static shots, and get up close and personal with subject matter. The result is a very different look to the final product.

“There is an interesting return to the deep dive of high end blue chip natural history storytelling, with the new tools and technology that make it possible to capture so much more than was possible 20 years ago,” said Lisa Samford, the executive director of the Jackson Hole Wildlife Film Festival. “Both Planet Earth II and Blue Planet II speak to that. At the same time, with the proliferation of digital distribution and the broad accessibility of high quality imaging, without the steep barrier to entry, there is also a big uptick in personal story-driven narratives, short form and consumer-created content. I’m eager to see what unfolds as Augmented Reality is refined and Mixed Reality programming grows in importance.”

“I think new technologies offer us a different way to capture or see a scene,” said Martin Lisius, president of Prairie Picture/StormStock. “I film with a DJI Inspire 2 [aerial drone]. It’s fairly compact and I take it with me often. I filmed Hurricane Harvey here in Texas with my Sony FS7 and the drone. When I got back to my office, I noticed that even though the Sony captured some dramatic imagery, it was the aerial footage that told the story best. The drone was able to see dozens of houses, streets and cars submerged in flooding, all in one framing. It was stunning. As far as the drone camera could see, all the way to the horizon, there was city and water, together as they were not meant to be. So, perhaps technology is offering a huge leap in how we capture nature.”

The Market for Natural History Footage

Advances in production technology have had a major impact on the business of licensing natural history footage, both in terms of the quantity and quality of images available for licensing and reuse, and in how the content is priced. While end-user demand, driven by both traditional clients and online programmers, remains strong, footage suppliers have had to adjust to the realities of the current platform-driven market and offer natural history footage to meet all price points.

“We are seeing substantial growth in clips sales,” said Dan Baron, CEO of Nature Footage. “Overall, there is massive growth in the use of video, and nature is no exception. Nature and wildlife is an important message for a huge variety of productions, from educational exhibits, natural history television documentaries, web documentaries, as well as feature films and advertising.”

“There’s an increased demand overall for video, driven primarily by online consumption,” concurs Andrew Delaney. “Our clients are looking to differentiate their products or services from the visual clutter, and arresting natural history content achieves this effectively.”

User demand notwithstanding, many footage suppliers are facing increasing pricing pressure from low cost footage platforms, and, despite the unique characteristics of natural history footage, have been forced to adjust their pricing strategies.

“I don’t think there is any category of footage that has not been disrupted by microstock,” said Jessica Berman Bogdan, President and CEO of Global ImageWorks.  “I think the difficulty and skill involved in capturing amazing nature and wildlife footage is truly underestimated and misunderstood. That said, price often drives the sale and there’s a lot of royalty-free footage that fits the budget and the creative brief.” 

“It’s not the license model that is the issue here, its technology,” said Andrew Delaney. “As with stills ten years ago, the move to digital has leveled the playing field in a lot of areas and competition is fierce. The cost of capture has been greatly reduced and overall the quality and volume of content has greatly increased. Specialized areas such as animal behavior in the wild, shot to the standard of the BBC Natural History Unit, for example, are still unique and carry a premium but sweeping vistas and establishers are being videoed, with increasingly high quality, by ‘non-traditional’ filmmakers.”

“NatureFootage focuses on providing premium quality footage, the best cinematographers, and the most current formats,” said Dan Baron. “Although there is a glut of video on the market, wildlife can be very challenging to acquire and requires expertise. We always need to keep our collection current. There are novice shooters who are lucky and get the rarest wildlife behavior and will share it at low cost, not knowing about the potential opportunity of the industry. We do our best to educate shooters of the value of their footage, and we also do our best to maintain the value of their footage, while also being competitive in the industry. It can be a tough balancing act.”

So, to put a fine point on it, is there still a qualitative difference between the footage shot by the experts and the footage shot by the non-traditional filmmakers?

“In some cases yes, but not all,” said Andrew Delaney. “For example, the keen amateur ornithologist is now able to capture stunning footage at relatively low cost that can be on par with some of the best traditional broadcast coverage. However, as in any creative endeavor, there will always be true visionaries and artists whose work is way better than everyone else’s.”

Pricing

So how are providers pricing natural history footage? The answer is that, at many footage companies, it depends on the shot, with unique, higher value shots ending up in rights managed or premium pricing tiers, and other, more ordinary shots being offered at lower price points.

“While much nature content may be priced the same as other subject categories, we also provide a huge collection of exceptional and unique natural history behavior that may be priced in a higher pricing tier,” said Dan Baron. “Cinematographers choose their own pricing tier, based on the uniqueness of their footage.”

“I think the value of any footage depends on the specific shot, or at least the sub-category, rather than the broad category,” said Martin Lisius. “An average sunset is cheaper to produce than filming tornadoes and hurricanes. The latter is very time consuming and even dangerous. So, a good tornado or hurricane shot is worth more than most sunsets. That is not to say the sunset isn’t beautiful, it’s just easier to plan and acquire, and safer too.”

Who Uses Natural History Footage?

While documentary filmmakers and long-form television producers continue to make regular use of natural history footage, online programming appears to be the area of biggest growth.

“We of course have what I might call our more traditional consumers of natural history content as you outline above but we have seen massive growth in content used online for both commercial and editorial purposes,” said Andrew Delaney.

“There will always be a market for nature content in documentary television, educational exhibits, and online videos,” said Dan Baron. “We also see the huge growth potential in video décor (slow tv) for use in home and commercial settings.”

Subject Matter in Demand

Subject matter most in demand ranges from  “striking, beautiful, cinematic subjects and unique animal behavior,” as Dan Baron put it, to “an increase in demand of content that transcends the purely descriptive and embraces the conceptual,” according to Andrew Delaney. “For example, Nurturing: mothers and babies interacting; Strength: powerful animals lifting and pushing; Speed: Fast animals travelling at full tilt; Competition: animals fighting, chasing and posturing; Anthropomorphic: animals behaving like humans. And of course, anything humorous and clips of, as one colleague puts it, ‘The Fuzzies’ – cute baby animals. Additionally, there will always be a demand for footage of Mother Nature behaving badly: from storms and twisters to crashing waves and red hot magma.”

“There seems to be a higher demand for material that demonstrates global warming concerns,” said Jessica Napoli, founder of Content Brick and a former senior executive at both National Geographic and Discovery Education. “The requests that I’ve recently seen seem to be for material demonstrating thriving as well as dying environments, such as coral Reefs.  Organizations looking to demonstrate such circumstances also tend to have a greater interest in older dated materials even if the content wasn’t natively captured in HD.”

“Natural events have an effect on the need for natural history footage, of course,” said Martin Lisius. “If there’s an outbreak of West Nile virus, then there would likely be an increase in the need for mosquito footage, for example.”

“The format (4K) and new ways of shooting (drones, GoPro for instance) might drive the shifts in demand,” said Sandrine Sacarrere, Head of International Sales at INA, the Institut national de l'audiovisuel, based in Paris. “On the other hand,  current events (like Jose and Irma hurricanes for instance) may increase demand.”

4K and Older Footage

If 4K is not the current standard for natural history footage, “it soon will be,” according to Andrew Delaney. “Partly from a pure quality standpoint and partly as a way of future proofing one’s work.”

“4K has been the new standard for a few years now and many are shooting 6K and even 8K to future proof their content,” added Dan Baron. “Shooting RAW is also becoming essential.”

So where does that leave older footage collections with large volumes of HD and even SD footage? The answer seems to be that it depends on the inherent value of the shot and whether the subject matter can be easily duplicated with a higher resolution shot.

“During my time at Nat Geo, it was the shot that was of most importance, not necessarily the age unless landscapes or identifiable locations had changed significantly over time,” said Jessica Napoli. “The demand was more for the best shot that fit the client’s needs in the best format.  If the content was older but available in HD, clients were happy.”

“Natural history footage diminishes in value with every major format change, like from standard-def to HD,” said Martin Lisius. “That’s overall. But, there will still be a need for significant historical events like Hurricane Katrina, the eruption of Mt. St. Helens, a major tsunami, fire, etc. Those are once in a life time occurrences…unless you are a natural history shooter, of course.”

 “There is a market for archival nature and wildlife if it covered a unique moment in time that no longer exists or is capable of being captured,” said Jessica Berman Bogdan. “If the original footage was shot on film, it might have a second life if transferred to HD.”

“It has a longer shelf life than other forms of footage that age due to changes in things like fashion and technology for sure,” said Andrew Delaney. “There are stunningly original pieces that still resonate well passed their natural sell by date (as dictated by capture format) and we are still selling arresting clips shot on film and SD. However, if clients find newer versions shot on 4K they will gravitate to them.”

“There is certainly a market for older natural history footage, especially unique content not readily available in more recent formats,” said Dan Baron. “However, clients have a strong preference for content shot with high quality cameras in 4K+. Access to RAW content is becoming increasingly important as adoption of HDR rapidly takes hold. NatureFootage always retains access to the highest quality masters to ensure long-term viability of all our content.”

Older natural history footage is especially useful in the documentation of climate change and ecological destruction.

“In order to show the ravages caused by climate change, new productions may be led to use older footage to witness the evolution of the land by showing the 'before' and 'after',” said Sandrine Sacarrere of INA. “INA holds an older collection shot by Christian Zuber (1930-2005), a filmmaker, photographer, journalist, and writer who devoted his life to protecting nature, and to showing how nature and less-developed cultures were being destroyed by the onslaught of modern civilization. French television ordered a documentary series, and Zuber pioneered on land what Commander Jaques-Yves Cousteau later did with the oceans. ‘Handheld Camera’ (over 150 episodes) was the first nature series to be broadcast on French television. This collection is a brilliant testament to how Christian Zuber, one of the first environmental advocacy filmmakers, taught us to love the earth and accept responsibility for its safekeeping. One of Zuber’s long-feature films, ‘Galapagos III’ (filmed over Zuber’s three expeditions in the Galapagos from 1958 to 1972) was screened in March 2017 at the DC Environmental Film Festival in Washington DC and it has been a great success with the public.”

“There is increased demand from non-profits and documentary film makers seeking to build awareness of the current trend of environmental degradation,” said Dan Baron. “We provide critical support to nature cinematographers to allow them to continue documenting both pristine habitats and the trends in habitat and species loss.”

 

Bridgeman Footage Joins Footage.net

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New preview clips from Bridgeman Footage, the world’s premier destination for art, culture and historical footage, are now available for screening on Footage.net. Bridgeman Footage is a division of Bridgeman Images, the world's leading specialist in the distribution of fine art, cultural and historical media for licensing. Bridgeman Images represents over 2,000 image suppliers - including museums, galleries, artists, stately homes, photographers, private collections, libraries, universities, auction houses and picture archives.

“We are delighted to be making the Bridgeman Footage archive searchable through Footage.net,” said Edward Whitley, North American president of Bridgeman Images.  He added, "We’ve had a very successful partnership with Footage.net for a number of years through their Zap Request service; and in making our clips searchable through their portal, we are now opening up our entire archive to Footage.net’s extensive network of media professionals worldwide. Bridgeman Footage continues to digitize, catalog and upload hours of film every week so it is important to check with our research team if there are clips a customer can’t find.”

“We’re very excited to welcome Bridgeman Footage to the Footage.net platform,” said David Seevers, Footage.net Chief Marketing Officer. “Since we started working with the folks at Bridgeman Images we have been extremely impressed at the breadth, depth and richness of the footage they have brought into their collection. They are unique in being the only archive to offer a complete range of art, culture and history in both stills and clips.”

Footage.net works with a wide variety of stock footage companies to enhance their visibility across the global production community. Bridgeman Footage clips will be available for screening through Footage.net alongside motion content from other leading footage companies.

British Pathé Joins Footage.net

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British Pathé, considered one of the finest newsreel archives in the world, has added its complete database to Footage.net.

British Pathé is a treasure trove of 85,000 films unrivaled in their 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.

“We’re excited to partner with Footage.net in order to provide a new level of service for our customers,” said Alastair White, general manager of British Pathé. “Footage.net is a terrific tool for painlessly searching multiple archives worldwide all at the same time. We wanted to be a part of that project and make it possible for researchers to search that way if they wish to do so. We also hope that new customers who would otherwise have been unaware of British Pathé will discover us there.”

“We’re thrilled to welcome British Pathé to the Footage.net community,” said David Seevers. “They’ve done an outstanding job of restoring and digitizing this historically invaluable collection and making it available online across a range of platforms. We’re very excited about helping them bring their collection to our global user base.”

Footage.net works with a wide variety of stock footage companies to enhance their visibility across the global production community. British Pathé data and thumbnail images will be available for search through Footage.net alongside motion content from other leading footage companies.

StormStock Now Exclusive Source for World’s Best Katrina Footage

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Veteran storm cinematographer Martin Lisius battled fierce winds and  catastrophic flooding to capture the fury of Hurricane Katrina on film as the historic storm made landfall on the US coast in August 2005. Lisius shoots for StormStock, the world’s largest storm footage library which he founded in 1993.  He acknowledges the uniqueness of Katrina. “It occurred to me the day before Katrina made landfall in the Gulf of Mexico that it had potential to become the costliest storm in US history. It has since captured that title.”

The material photographed by Lisius on Super 35mm and HD video was recently made exclusive to StormStock. Some TV and film producers consider it among the best hurricane footage ever shot.

“We were able to capture the usual things like horizontal rain, trees bending over and debris flying through the air and scraping across the ground,” Lisius said. “But the most amazing scene we encountered was in Moss Point, Mississippi where we came upon a parking lot that was flooding with storm surge and covering cars. People were stranded inside the hotel there, staring down from the upper floors when a high water rescue team arrived. The team, from the local fire department, battled winds gusting to 100 mph to search each vehicle. It made for some very powerful imagery.”

“Katrina was an impressive hurricane from a scientific point of view,” Lisius said. “Unfortunately, there was a high level of human suffering associated with it unlike any other US storm since the Galveston, Texas hurricane of 1900. I thought that event, which killed 8000, would not be duplicated again considering our modern day ability to forecast, track and effectively evacuate for dangerous storms. We did well on forecasting and tracking Katrina, but failed to effectively evacuate. That’s unacceptable.”

The StormStock team photographs extreme weather footage for licensed use in film and television productions. Footage can be viewed, licensed and downloaded at www.stormstock.com. Clients that require personal service can e-mail the staff at info@stormstock.com or call (817) 276-9500.

Clearing Audio Visual for Documentaries: Advice from Cathy Carapella of Global ImageWorks

Cathy Carapella began working in the music clearance business in 1984. She met Jessica Berman Bogdan in 1995 when they both worked on the Rock & Roll Hall of Fame induction films.  Jessica was in charge of audio-visual research and Cathy was heading-up the rights clearance team.  Today, Cathy and Jessica work together at Global ImageWorks where they continue to provide research and rights and clearance services to filmmakers and specialize in archival music documentaries. 

Recent projects include: The Beatles: Eight Days A Week, Danny Says, Who the F**k is That Guy? The Fabulous Journey of Michael Alago, Sidemen: Long Road to Glory, Michael Jackson's Journey from Motown to Off the Wall, Montage of Heck, and Supermench

The top three things Global ImageWorks would like all archival music filmmakers to know are: 

1. The clearance work starts in pre-production.

This is essential when making a music documentary. Sadly, this rule is all too often ignored. Knowing what needs to be cleared, creating a game plan for dealing with clearances and clearance related issues (i.e. fair use), organizing the audio-visual elements and its associated copyright data are all part of an important foundation.  Integrating the research and clearance schedules into the production schedule, budgets and grant of rights are all issues that need to be discussed in pre-production.

“It’s best to get all your legal documents such as talent and material releases together in pre-production. This way you can send the paperwork over with the request rather than after the fact. This will save you valuable time” advises Carapella. 

2. Budget time as well as money for music clearances.

Most producers know they need a licensing budget. What’s often not understood is the amount of time it can take to secure the clearances.  Record companies and music publishers may be required to secure “prior consent” from performer(s) or writer(s) before they’re at liberty to quote on your project.  This process can add to the clearance timeline.  

3. Source as much material as you can directly from the copyright holders.

“Building a rough cut out of YouTube downloads and then looking to unravel the rights ownership is not a cost-effective process” says Carapella. “At that point, you’re starting with a deficit of knowledge that needs to be completely rebuilt.” There are several first-rate professional archives that represent performance footage, like Reelin’ in the Years, Historic Films, Retro Clips, WPA and Global ImagesWorks to name a few.  “Sourcing your footage directly from the right holder is the way to go. Doing so saves time, money and it makes ordering edits masters much easier” recommends Carapella.  

Overall, rights and clearances is an organic process. There are known considerations, but not a lot of consensus or hard and fast rules. It’s fairly standard for each production to review their clearance related issues with their legal and clearance team. Generally speaking, the lawyer assigned to the project will establish the clearance guidelines, policies and set the strategic foundation. Then, the clearance team facilitates the assignment. “In the end, you want the person who’s going to defend the decision to make the decision,” says Carapella.

A major factor that plays into the clearance strategy include an understanding of what is and is not covered by E & O insurance. "Once you know that, you can work backwards and figure out your clearance requirements," advises Carapella. 

Know the possible financial investment. When working with music performance footage, there may be multiple layers that need to be cleared and each layer will likely require a fee. For example, a single performance clip may include: The copyright holder of the clip Artist consents The music publisher of the song being preformed   Record company rights Unions and guilds permissions.

Clip Rights

Clip rights are obtained from the copyright holder of the footage. This may be a footage archive like Reelin’ in the Years Productions or Historic Films, or an individual rights holder. Music performance footage is typically considered Premium footage and is licensed at rates higher than standard stock and archival fees.

Artist Rights

Artists rights are typically obtained from the artist, band or estate. In the case of a band that’s still together, one clearance will usually suffice. In the case of a band that is no longer together, rights must be obtained from each individual band member.

Music Rights

Often referred to as synchronization rights, this permission covers the use of a specific song or piece of music. In most cases, these rights are represented by a music publishing company. If the song is lip-synched, a record company clearance will be required. Record companies may also have a Blocking Rights clause in the artist contract which would require you to seek their consent, even if the song is not lip-synced.  

Guilds & Unions

Unions and guilds have authority over content created pursuant to a union contract. The main unions to consider are: Screen Actors Guild/American Federation of Television and Radio Artists (SAG/AFTRA); Writers Guild of America (WGA); Directors Guild of America (DGA); and the American Federation of Musicians (AFM).

"In almost cases, the fees are negotiable," says Carapella. "The variable is too great to guesstimate – it can be anywhere from a few hundred dollars to several thousands of dollars depending on the clip and its union obligations. This is why it’s important to work with someone who knows what they’re doing and to address these issues in pre-production."  

A Production Bible is the End Game for Clearances

Ultimately, all clearance documentation, including fully-executed agreements, releases and payment records for all third-party material, ends up in the production bible. “A fantastic clearance bible is the pot of gold at the end of the project,” says Carapella.

Rock Docs

Our highly subjective list of rock & roll documentaries, available for streaming now on Netlflix and Amazon Prime.

Anvil (2008)

Anvil tells the story of the Canadian heavy metal band Anvil, who, after a brief moment of glory in the early 80s, fell into obscurity. The two lead members remain committed to their dreams of rock stardom, working day jobs and making records as the years wear on, and the film captures their enduring, quixotic hunger for recognition and success, which is equal parts charming and wistful. While their early work is considered influential by the likes of Slash and Lars Ulrich, who speak respectfully of them in the film, the band mates are now in their fifties and still hoping for a breakthrough. We follow them on a European tour that is more an exercise in humiliation than comeback. The film concludes with the release of their thirteenth album, aptly titled “This is Thirteen,” and a brief return to the spotlight at a rock festival in Japan, where they play to an enthusiastic crowd of young metal heads at 9:45 am. Directed by Sacha Gervasi.

Crossfire Hurricane (2012)

Using 100% archival footage and voiceovers from the band, Crossfire Hurricane revisits the Rolling Stones’ early years, when they were regarded as dangerous and decadent, and their shows regularly devolved into riots. The film makes clear that this outlaw image did not come about by accident. “Andrew (Oldham) wanted to make the Rolling Stones the anti-Beatles,” Mick Jagger says in a voiceover. “Andrew decided the Rolling Stones were the bad guys. It wasn’t just an accident.” The film deftly conveys the excitement and mayhem of these shows, as well as the Stone’s canny evolution from local UK sensation to international superstardom. Directed by Bret Morgen.

Janis – Little Girl Blue (2015)

Ambition, Janis Joplin writes to her mother, ultimately comes down to “how much you need to be loved,” and in Janis – Little Girl Blue, we see just how much that need drove Joplin. While the film captures Joplin’s rapid ascent from small-town misfit to larger-than-life generational icon, her letters, read by Chan Marshall (aka Cat Power), provide a sort of first person narration, exposing the insecurities and vulnerabilities beneath Joplin’s outsized public persona. “The only way to tell Janis’s story was through Janis’s voice. Her letters show the vulnerable artist, daughter and lover Janis was in her short but impactful life,” said writer, director and producer Amy Berg.

Lemmy (2010)

“If they dropped a nuclear bomb on this planet, Lemmy and cockroaches is all that’s gonna survive,” says a devoted fan in the documentary Lemmy, a worshipful testament to the enduring legend and influence of Lemmy Kilmister, the founding member of the seminal heavy metal band Motorhead. An unrepentant avatar of hard-living rock & roll, Lemmy was something of a rockstar’s rockstar, and everyone from Ozzy Osbourne to James Hetfield to Dave Grohl show up in the film to pay homage. “You could definitely say, without Motorhead, there’s now Metalica, there’s no Anthrax, there’s no Megadeath, probably no Slayer,” says Scott Ian of Anthrax. “There are no words,” says Lars Ulrich. “He’s just Lemmy. It should be a verb.” Directed by Greg Oliver & Wes Orshoski.

Long Strange Trip (2017)

An epic, sprawling history of the Grateful Dead, Long Strange Trip follows the band’s journey from their early gigs at Kepler’s Bookstore in Menlo Park, California to their years on the road as one of the biggest touring acts in the world. Coming in at just under four hours in length, the film captures the unique blend of musical, cultural and personal elements that went into the formation of the Dead, from their avid interest in psychedelics, to their technical proficiency as musicians, to their nearly pathological aversion to commercial success. “The Grateful Dead explored freedom,” says longtime Dead biographer Dennis McNally. “And they were on the cutting edge of a phenomenal reexamination of American values.”  Directed by Amir Bar-Lev.

Metallica – Some Kind of Monster (2004)

Some Kind of Monster follows Metallica as they embark on the production of what would become St. Anger, their eighth studio album. The band is showing signs of strain. Bassist Jason Newsted has just quit. Their lawsuit against Napster resulted in a backlash from fans. Something is clearly amiss between lead singer James Hetfield and drummer Lars Ulrich. In addition to allowing the recording process to be filmed, the band retains Phil Towle, a “performance enhancement coach” to help them work through their issues in a kind of group therapy setting. These sessions are also filmed, providing a window into the band mates’ dysfunctional relationships, longstanding resentments and overall fatigue.   Directed by Joe Berlinger and Bruce Sinofsky.

Supermench (2013)

Supermench chronicles the life and career of consummate Hollywood insider, Shep Gordon, who began as Alice Cooper’s manager and then went on to be both an entertainment industry power player and beloved confidant of countless boldfaced names. Possessing both an upbeat, disarming manner and a keen eye for opportunity and talent, Gordon has a genius for “making people famous,” and his career building efforts on behalf of Alice Cooper, Teddy Pendergrass and Anne Murrary are legendary. He is also, despite a long career in the cutthroat world of music and entertainment, “the nicest person I’ve ever met, hands down,” says the film’s director, Mike Myers. Directed by Beth Aala and Mike Meyers.

Elizabeth Klinck Helps Build an All Archive Portrait of Frank Zappa

Eat That Question – Frank Zappa in His Own Words, includes no originally shot footage, relying on 100% archival material to build a portrait of the iconoclastic musician and composer.

 Elizabeth klinck and thorsten schutte  at the 2017 focal awards. With Raphaëlle Cittanova from Films du Poisson and Paul Bowman, Head of Film Culture at Film london (the award sponsor).  

Elizabeth klinck and thorsten schutte  at the 2017 focal awards. With Raphaëlle Cittanova from Films du Poisson and Paul Bowman, Head of Film Culture at Film london (the award sponsor).  

"There was this pure need for this film to be made in this form, to give Frank the platform to speak for himself," said director Thorsten Schutte. "Because if you look at this archive footage that we've been working with, the hundreds of hours, a whole different Frank Zappa emerges."

Finding archival source material from around the world was a huge research effort. More than 70 sources were approached, and 40 archival sources were used in the final film. 

We spoke with Elizabeth Klinck, the films Archive Producer, about the process of organizing this archival mega-search, finding rare archival gems and clearing the rights from a wide network of international sources. 

Footage.net: Eat That Question took over eight years to produce. How much of that time was spent sourcing and clearing archival materials? Were you on the project for the entire time?

Elizabeth Klinck: The work was done in various stages.  I was on the project for the last five years.

Footage.net: The film consists of 100% archival footage. That must have necessitated gathering an enormous amount of archival material. Was this one of the larger projects you’ve worked on?

EK: Yes it was.  Other films have come close (How To Change the World was 85% archival) but this was unique in that there were no current interviews with family members or musicologists, but just Frank Zappa “In His Own Words” 100%.

Footage.net: How do you get a project like this started? What are the first steps in sourcing archival materials of this scope? 

EK: Luckily, Frank Zappa has a legendary number of fans around the world so we were able to start by sourcing material through lists built by various Zappa fan base groups.  The “vault” belonging to the Zappa family was important as another starting point.  Then it was a wide net thrown to the main archive houses, international broadcasters, private collectors, photographers, and even a show produced by a Pennsylvania based Educational Broadcaster hosted by a State trooper!

Footage.net: How big a factor is YouTube in a project like this?

EK: YouTube is an invaluable research tool and offers a researcher a visual cue (URL) for searching and clearing with the copyright owners.  A YouTube clip URL is worth three paragraphs of description in an email request!

Footage.net: How does that all-archive approach affect the filmmaking process? Does the film’s structure and narrative emerge from the archival materials? Or did the director have a very clear idea of the story he wanted to tell from the outset? 

EK: It is both. Thorsten had a clear idea of what he wanted to tell, but there were some lovely archival surprises that helped shape the film as well. 

FN: What are the main differences between working on a music-related doc and working on other kinds of films?

EK: The main difference is the many layers of rights and clearances to consider – the underlying synchronization and master music rights, the droits d’auteur, and in this case considering copyright issues from many different countries.

FN: Was getting clearances and rights especially challenging? Why? 

EK: There were many sources of materials in many countries.  And due to the age of some of the early clips, it was a challenge tracking down any copy not only the masters.  

FN: How significant, in terms of obtaining rights and clearances, was the involvement of the Zappa family?

EK: Very.  Thorsten Schuette, the director of the film, spent several years negotiating these rights with Gail Zappa on behalf of the Zappa Family Trust.  They were very supportive and Gail Zappa loved the finished film. Sadly she died before the premiere at Sundance but she had seen the finished film before she died.

FN: Aside from the usage licenses, what were the main rights that needed to be cleared for most of the footage you used?

EK: We needed to clear all media including theatrical.

FN: You approached 70 archival sources, 40 of which were ultimately used. Were you dealing mostly with large institutions or with individual owners/collectors, or a mix of both?

EK: A mix of both.

FN: Were there sources that you wanted to work with but just could not come to terms with?

EK: A few sources no longer had the master material available to license.

FN: Was there a lot of footage readily available? Or did it all take extensive digging?

EK: There was a lot of digging!

FN: Were there interviews or performances that you really wanted but could not find or otherwise obtain?

EK: An early Dick Cavett interview had been lost.

FN: What’s the most satisfying part of this work for you?

EK: Working with a great team: Thorsten Schuette (director), Willi Wonneberger (editor) Estelle Fiallon and Claire Babany (producers) and Liz Etherington (visual researcher) were all fantastic. It takes stamina, dedication and commitment to work for eight years on one project.  It wouldn’t have happened without such a terrific group of people making sure that it happened on budget, on time,  premiered at the Sundance Film Festival, and opened worldwide theatrically.

FN: Lastly, Eat That Question won a FOCAL Award back in May. Congratulations! That must have been exciting.  

EK: Winning the FOCAL award this year in London was the perfect reward for so many years of dedication and work for our entire team.  It was a wonderful evening!

 

Reelin' in the Years Productions to Exclusively Rep ITV's Vast Music Footage Holdings

Reelin’ in the Years Productions is now exclusively representing ITV’s vast musical footage holdings (formerly handled by ITN). ITV, known as one of the world’s leading broadcasters, has granted RITY the rights to rep their musical holdings spanning nearly 60 years and including thousands upon thousands of performances and interviews with the world’s most influential artists, such as The Who, The Clash, U2, Muddy Waters, Madonna, Prince, Doors, Cat Stevens, Police, David Bowie, Judy Garland, Elton John, Little Richard, Public Enemy, Nina Simone, Ozzy Osbourne & R.E.M. 

ITV’s archive holds iconic moments in music such as The Beatles at The Cavern Club (1962); The Rolling Stones At Hyde Park (1969); Billie Holiday performing “Strange Fruit” (1959); The Sex Pistols TV Debut (1976); Johnny Cash’s famous concert at San Quentin Prison (1969); the only footage of The Yardbirds featuring Eric Clapton (1964); John Lennon’s last ever TV appearance (1975); and a rare TV appearance by rap pioneers Grandmaster Flash (1982.)  

The rest of ITV's archive (non-music related) will be represented by Lola Clips

Since 1992, Reelin’ In The Years Productions has been recognized as a world leader in footage licensing. The archive houses over 20,000 hours of music footage spanning 90 years and 7,000 hours of in-depth interviews with the 20th century’s icons of Film and Television, Politics, Comedy, Literature, Art, Science, Fashion and Sports, filmed between 1962-2012. The interviews are primarily from the archives of Sir David Frost, The Merv Griffin Show, Rona Barrett and Brian Linehan’s City Lights from Canada.

WPA Film Library Now Represents NET Journal Archives from WNET

The WPA Film Library now represents clip licensing rights to NET JOURNAL programming from WNET, New York’s flagship public broadcasting station.
 
NET JOURNAL, first broadcast between 1966 and 1970, features incredible source footage of the Civil Rights movement, the Vietnam War, the Nixon administration, New York’s Spanish Harlem, life on Native American reservations, and much more from this revolutionary time in American and world history.

"NET Journal is tremendously fascinating and historically significant," said Diane Paradiso, Director of Licensing and Sales, WPA Film Library. "We are delighted to play our part in making this unique collection accessible to our clients.”

“WNET is very pleased to expand our footage licensing partnership with the WPA Film Library, which has represented our Soul! collection for more than 16 years," said Joe Basile, Director of Rights & Clearances, WNET. "Like Soul!, NET Journal is another historically noteworthy series that hasn’t been seen on television for decades and whose archival treasures are not well known by documentary filmmakers, let alone the general public.  We are confident that WPA is the right partner to reintroduce this rare and valuable content to footage buyers the world over.”

The WPA Film Library has been supplying high-quality stock footage for over 30 years. Covering world history, pop culture, politics, celebrities, landmarks, and much more since the dawn of motion pictures, WPA has met and exceeded the needs and demands of the advertising, motion picture, and television industries. Highlights of our collection include the WETA’s extensive coverage of important political events; exclusive rock, soul, and classic country music performances.

www.wpafilmlibrary.com