Smart move here from the Getty Images video licensing department – a tie up with public video platform Vimeo –
Vimeo say ‘We’ve partnered with Getty Images, one of the world’s leading providers of digital media, to enable you to make money by licensing your video content for use as stock footage.’
See how the deal works here
Getty Images partners Vimeo to licence your footage as stock
Posted in news
AP: Royal birth coverage – 5 stand-up broadcasting positions available – London
© AP photographer Lefteris Pitarakis
AP Global Media Services (GMS), the production arm of the Associated Press, have five stand-up locations available for broadcasters to use for their coverage of the birth of the Duke and Duchess of Cambridge’s baby. This will provide broadcasters from around the world with the opportunity to cover this international media event in the most cost effective manner possible.
The five locations being offered are:
Buckingham Palace
St. Mary’s Hospital – Lindo Wing
St. Mary’s Hospital – Entrance
Kensington Palace
Bucklebury, the Middleton family home
At each of the five stand-up locations, broadcasters will be able to make use of multiple live stand-up positions, multi-format tape play out facilities and international delivery via AP’s satellite and fibre networks. The AP GMS team of highly specialised technicians and producers will also be on hand to provide editorial support for broadcast clients.
• Bookings inquiries can go to Tel: +44 20 7482 7580 | Email: [email protected]
Posted in news
Watch: Sarah McDonald – ‘why nostalgia is an enduring trend when using archive footage to be creative
Above – Curator at Getty Images Archive, Sarah McDonald, tells us why nostalgia is an enduring trend when using archive footage to be creative, and highlights some of the gems from our archive video collection, including footage from as early as the 1890s.
Posted in news
People: Jo Griffin – UK Head of Content Services and Restoration at Prime Focus
Jo Griffin [above] is the new UK Head of Content Services and Restoration at global visual entertainment services group Prime Focus
They say: Jo has a wealth of knowledge with over 15 years experience in the industry, having spent nearly 10 years at Ascent Media and for the last 5 years at Prime Focus as Head of Bookings for Content Services and more recently as a Senior Longform Producer for the Broadcast Division. This last role gave Jo a hands on insight into the needs and multi-faceted requirements of the modern day production from ingest to delivery.
This exciting move comes alongside the merger of the Content Services Division with the Broadcast Division, and Jo is set to advance this department, bringing in new projects and maintaining a strong team.
Posted in news
Interview: Martin Lisius Owner at StormStock
Footage News exclusive interview: Owner at Storm Stock – the ‘world’s premier collection of storm imagery, for creative professionals who demand only the best’
Name: Martin Lisius – pictured above ©Prairie Pictures
Stock footage agency: StormStock
Position: Owner
Q. When did you decide to start offering stock footage?
1993
Q. Why?
People were calling for it before StormStock existed, so StormStock was created as an answer to a need. People saw my storm footage in documentaries I produced about extreme weather.
Q. What is the latest footage stock you are offering?
We have the devastating May 20, 2013 Moore, OK tornado. You can see a shot of it at www.prairiepictures.com
Q. Do you provide commissioned video/broadcast production services?
Yes, on occasion.
Q. What in your view is the largest hurdle when starting to offer footage stock?
Keeping up with orders. It’s very time consuming and leaves little time to shoot new footage.
Q. Is there a standard industry pricing structure for editorial and creative stock?
No, I don’t think so. License fees depend on use but also on the quality and uniqueness of the footage.
Q. Where do footage requests come from?
Researchers and production companies. Usually archivists, producers and sometimes editors.
Q. Which are the most regular video formats requested for license?
HD 1080 in an .mov file format, mostly.
Q. How do you ensure your footage is credited StormStock?
We require a credit in our license, unless it is a commercial or other form that normally cannot credit.
Q. How do you currently deliver licensed footage?
Either FTP or on a drive via FedEx.
Q. Which area of the library are you looking to increase content in?
Stills. We are known for our footage, but we have a really nice still collection that we want people to know about.
Q. What was your best seller this month?
The Moore, OK EF5 tornado:
KB20130520003_p
Q. Any exclusive stock?
Yes, most of StormStock is exclusive.
Q. Whats new at StormStock?
The Moore, OK EF5 tornado and the OK tornadoes from the previous day, May 19.
Q. Whats next for StormStock?
4K. I have shot “4K” since 1997 on Super 35mm. Much of that will be scanned to 4K sometime this year.
ENDS –
Thanks Martin – Visit and license from Storm Stock here
View all FootageNews.com interviews on our Features page
Posted in interviews, news
The AP secures stake in Bambuser – UGC newsgathering video feed
↑ Watch UGC from AP and Bambuser – 2013 Highlights
The Associated Press has bought of a minority stake in Bambuser, the user-generated content (UGC) live video service that allows users to broadcast, watch and share live video through mobile phones and computers. PhotoArchiveNews.com reported the start of the AP/Bambuser relationship in April 2012: AP explores citizen newsgathering video feed
They say: AP’s investment follows the successful development by Bambuser of both its technology and user base. Bambuser has a proven track record for enabling real-time creation, solicitation and distribution of user-generated content, especially for news-related content.
Under terms of the deal AP’s director of global video news, Sandy MacIntyre, will join Bambuser’s board as a non-executive director.
“User-generated video content of live and breaking news is the new frontier of news generation,” MacIntyre said. “Bambuser is the proven platform for eyewitnesses around the world to stream their video content and has been invaluable to the AP over the past year, allowing us to access footage of verifiable breaking news stories that would simply not have been possible before. Moreover, we have always been deeply impressed by the proven technology from the small but very talented team at Bambuser.”
MacIntyre added: “This investment by the AP is a natural extension of our existing relationship with Bambuser and will ensure that we retain our dominant capability in gathering and verifying UGC video news. The evidence that UGC is set to grow in importance and volume is plain to see. Nearly a fifth of the world’s population has a smartphone and that is a phenomenal eyewitness resource that Bambuser makes technologically possible. It means that anyone can be one button click away from generating live news that will change the way the world receives the “first word” of a story. With the AP and Bambuser working closely together, I firmly believe we can take UGC to new heights.”
Hans Eriksson, executive chairman at Bambuser, said: “Working so closely with the AP over the last year has proven the huge demand for user-generated video content. This equity investment is an important milestone in Bambuser’s journey as it not only brings our two organizations closer, but enables us to share our expertise to an even greater extent.”
Posted in news
Interview: Rachel Brinton Matthews – Footage Manager – Bridgeman
Name: Rachel Brinton Matthews
Position: Footage Manager
Footage library: The Bridgeman Art Library
Q. Explain Bridgeman Footage in a sentence:
A rich and eclectic footage archive specialising in arts, culture and history.
Q. when did you decide to start offering stock footage?
Bridgeman Footage launched in spring 2012 so we are just about to celebrate our 1st birthday!
Q. Why?
In response to the moving times; offering footage was a natural progression for us, particularly as existing suppliers began asking if we could license their AV content. One of our main client sectors is publishing and as technologies have developed we’ve seen a surge of interest in video content from our traditional licensors so it was important that we made the efforts to respond to their needs.
Q. Which stock footage subjects are you offering now?
Along with our existing stills catalogue of over 500,000 clips, Bridgeman Footage includes clips and films on the arts, world culture and 20th century history. As well as presenting these subject areas in regular showreels, we also producer trailers and teasers focusing on current events or themes to show the breadth of our archive and how the clips can be used in different ways; our recent ‘Smile montage’ (to celebrate National Smile Month) has proved particularly popular!
Art will always be at the forefront of Bridgeman, it is after all what the company was founded upon, so our video collection on the arts has been the basis for building our footage library. Our historic collection is proving very popular with clients and the contemporary stock we have acquired from numerous filmmakers across the world is very exciting as much of it comes from exclusive and never-before commercialised sources,
Q All stock – or do you also license editorial and feature video?
The Bridgeman footage collection is a mixture of stock and archive clips as well as some full programmes and animated films. We are able to sell most of these full programmes in their entirety but for the most part, clients tend to license sections as stock clips.
Q. Have you needed to employ new staff to cater for the footage/video market?
Yes. I have been with Bridgeman for the last two years, initially employed to manage the development of the footage platform and collections. Since launching I have continued to manage the footage project at Bridgeman and have been joined by Holly who assists me with cataloguing, marketing and research. Together we support the UK and International sales teams with all footage requests.
Q. What in your view is the largest hurdle when starting to offer footage stock?
Getting the platform up to scratch was a long process, with many bumps along the way. We’re still working on our development plan and have lots of new and exciting features that will be released over the next year.
It’s also been quite a task making sure people know we offer footage as well as stills. Where Bridgeman’s name is so much associated with art I think people have found it difficult to understand what type of films we could possibly have. Bridgeman is much more than paintings though; we have a huge collection of social documentary photography as well as contemporary design and now footage; there is a lot for people to explore!
Q. Is there a standard industry pricing structure for editorial and creative stock?
Not in our experience. Bridgeman licenses on a per second basis which is perhaps the more traditional licensing method. Subscriptions are definitely in use more and more now although it seems to be a particular type of content that is best suited for this type of licensing model.
Q. Where do your requests come from? individual researchers, production companies?
We work with a lot of independent production companies and they have been our key clients since launching Bridgeman Footage, both in the UK and internationally. Requests can come from the in-house development team or freelancers. We are also working closely with all of our existing publishing clients as they begin to move into digital options and products, offering advice where needed as many of their picture editors suddenly find themselves faced with licensing things that move!
Q. Which are the most regular video formats requested for license?
HD definitely. We offer a transcode option with all of our footage.
Q. How do you ensure your footage is credited?
For broadcast we would ensure Bridgeman is mentioned in the end credits and for editorial we would expect the description of the clip found on our website to be referenced together with our company name.
Q. How do you currently deliver licensed footage?
Via a download link sent directly to the client’s email. E-commerce plans are in motion for the future but our existing service is very efficient and allows us to give our customers the personal service that underpins Bridgeman’s excellent reputation.
Q. Are any of your stills contributors supplying footage?
Yes, quite a few stock photographers have given us complimentary clips from their various shoots and we are hoping to work with more and more of our museums and galleries. Footage can prove trickier when it comes to clearing rights and gaining access so we’re offering help wherever we can to our current suppliers who are keen to add their film collections.
Q. Which footage subjects are you looking to increase content in?
Arts based archive. We get a lot of requests for C20th painters at work so I am working hard to develop this section of the library.
Q. What was your best seller this month?
This clip from the Battle of Somme.
Q. Any exclusive stock?
We work with a number of exclusive collections including the de Laszlo Archive, Benoy K Behl, Moonweed Digital, Buff Films, Laboratoriorosso and Battlefields in Motion. Those collections that are not exclusive, the Beeld en Geluid archive for example, have been additionally enriched with detailed cataloguing from our in-house team, taking into account how our specific clients search and access our assets.
Q. whats new at Bridgeman Footage?
Our latest collection, Chronos Media, has just submitted a fantastic set of clips from 1920s Berlin so we are busily cataloguing to get these online. We’ve also just released our latest showreel which can be seen on our Youtube channel along with our back catalogue from our Clip of the Week. And finally, we have recently started tweeting (BridgemanFtage)!
Q. What’s next for Bridgeman Footage?
We were at the Sheffield Documentary festival on the 13th and 14th of June and attended the Meet the Archives sessions hosted by FOCAL International. We’ve also got a birthday to celebrate and a number of exiting new collections in the pipeline that we hope to have ready for the summer.
– ENDS –
View and license Bridgeman Footage here
See our May interview with Ben Jones Head of Motion at Science Photo Library
Posted in Featured, interviews, news
Attend: London Archive Film Festival 8 – 13 June
8 and 10-13 June 2013 | The Cinema Museum | London SE11 4TH
This Festival is an event for anybody who is interested in documentaries that rely on archival footage as a narrative vehicle. The Festival aims to showcase international archive-based documentaries, some of which never get a showing in the UK. Three of the documentaries featuring in this year’s Festival are UK premieres while the fourth is the London premiere.
Whats on:
• Saturday, 8 June 2013 @ 2.30 p.m. WORKSHOP WITH SHANE O’SULLIVAN AND SAM DWYER
• Monday, 10 JUNE 2013 @ 7.30 p.m. UK PREMIERE WHEN ALI CAME TO IRELAND FOLLOWED BY Q&A WITH DIRECTORS ROSS WHITAKER AND AIDEEN O’SULLIVAN
• Tuesday, 11 June 2013 @ 7.30 p.m. UK PREMIERE ICI, ON NOIE LES ALGERIENS
• Wednesday, 12 June 2013 @ 7.30 p.m. LONDON PREMIERE UNFINISHED SPACES
• Thursday, 13 June 2013 @ 7.30 p.m. FINDING THE FOOTPRINTS: A LOOK BACK AT MISE EIRE UK PREMIERE AND WINNER OF FOCAL AWARD FOR BEST USE OF FOOTAGE IN AN ARTS PRODUCTION
Get your ticket here
Full event details on their Facebook page
Posted in news
Watch: Barcroft Media special – ‘Pistorius Trial: The Key Questions’ Monday
Barcroft TV prime-time factual television production arm of UK based photo agency Barcroft Media have a new special which premieres in the UK 10pm June 3rd on Channel 5 Pistorius Trial: The Key Questions.
Posted in news
Rightster teams PA – ‘marketing and distributing PA’s video content’
The Press Association in the UK have partnered with Rightster, the cloud-based online video distribution and marketing network, on Rightster’s YouTube Multi-Channel Network (MCN) in a combined global distribution strategy growing the Press Association’s international audience and reach.
In the early stages of their strategic online video distribution initiative, PA partnered with Rightster to optimise the PA News channel on YouTube. In addition to managing this channel, Rightster will now also be marketing and distributing PA’s video content to online publisher sites around the world, thereby further extending their audience and reach.
“Rightster’s software system and audience development expertise make the task of distributing, monetising, and promoting video content through YouTube – and other channels – simple and efficient. Our close collaboration with YouTube helps our clients attract more viewers and grow audience, while using our media sales expertise to improve revenues.” said Barry Flanigan, VP of Publisher Solutions and Audience Development at Rightster. “We’re excited to support the Press Association as it continues to be a leader in multimedia content.”
“Rightster has proven to be a valuable partner and leader in the online video distribution and marketing space”, said Tony Watson, Managing Director at the Press Association. “PA’s commitment to delivering high-quality, dynamic content stretches far beyond our own borders and this continued partnership will capitalise on our multimedia strengths and Rightster’s in online video syndication”.
Posted in news
