DPX Files: Delight or Dilemma

Article by Steve Goodwin, Head Editor and Archivist, with two cents added by the staff at Producers Library.

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“What are these huge files you’ve sent me? My editor says he can’t open them…”

So, let’s get this out of the way first. The technical stuff. Digital Picture Exchange (DPX) is a lossless file format for digital intermediate and visual effects, and is the most commonly chosen format worldwide for still frame storage in most digital intermediate post-production facilities and film labs. The file format is used to represent the density of each color channel of a scanned negative film in an uncompressed "logarithmic" image where the gamma (the black transition to white) of the original camera negative is preserved when run through a film scanner.

“Why are there so many of these DPX files and why do they look so washed out?”

Scanning film to DPX files produces a lossless, numbered digital file corresponding to each frame of the scanned film. For example, if the film was shot at 24 frames per second (fps) then there will be 24 separate DPX files for one second of film scanned. That’s a lot of files. One can think of a folder of DPX still frame files as the digital version of a roll of film.

Each DPX file is often over-scanned past the edge of the frame lines, showing the complete image of the film frame, and looks flat and milky when first viewed. Never fear, all the color information (density) from the film is contained within the file and that’s where the color grading process comes in.

The Delight: The Good News

An advantage of the DPX format is that the files can be color graded to suit the specific needs of the production. The color “look” of the film is not baked in (as in traditional Pleistocene Era telecine) so the post house or effects house has complete freedom to color grade and crop the frame as they wish. This is especially vital when matching archival stock footage to current production values of surrounding shots. Though many stock footage websites show only 2K or 4K QuickTime Pro Res files available for older film-based stock footage, (and they may be just fine for your project!) you may want to consider asking for the choice of scanning to DPX files.

Below is an example of a “flat” scanned 35mm Negative frame of a Paris street scene in the 1950s at 4K resolution, the same 4K frame color graded, and then an HD workflow showing a 16x9 crop of the 4K image. The twelve second clip can be viewed at https://producerslibrary.com/preview/V-0904_387.

“Raw” 4k dpx

“Raw” 4k dpx

color graded 4k dpx

color graded 4k dpx

color graded, cropped 16x9 HD

color graded, cropped 16x9 HD

Working in the HD world, the 16x9 crop of the original 4K image becomes an editorial and aesthetic decision based upon the framing, content, context and composition of the image. DPX files offer the ability to reframe and/or push in (or focus) on a smaller part of the 4K frame due to the relative frame size difference between 4K (4096 x 2160) and HD (1920 x 1080).

For most editing projects, a common approach is to crop and/or resize and color grade the DPX sequence in DaVinci Resolve or similar software, then export a QuickTime file to the project specifications and import that into the editing system. Visual effects work will have a different workflow as the uncompressed 4K files may need to be manipulated and altered prior to grading and output.

Producers Library has supplied many features, TV dramas, commercials, and even documentaries with 2K and 4K DPX files.  A recent example is Showtime’s Black Monday, about the stock market crash of 1987. The first episode utilized Producers Library’s extensive archive of that era for a creative VFX shot. The star Don Cheadle arrives at NYC’s Wall Street in a “Lambo Limo” filmed for the scene, which was tracked and overlaid onto an existing car contained in the original 80s footage. The ability to seamlessly insert actors, background or other CGI elements into vintage footage is just one of many possibilities that DPX files can provide.

The Dilemma: The Not So Bad News

Beware: these are large files and they eat up storage fast. Twenty-four frames of DPX files at 4K resolution is over one gigabyte of storage, and for 6K or higher... well, go ahead, you do the math! Fast computers and throughput are essential to play a DPX file sequence in real time, as well as a ton of hard drive real estate for archival storage.

The bottom line: if you are working at high resolutions, planning to manipulate a shot, use VFX, insert and match to existing camera footage or archiving for the future then DPX files will be the way to go. Just be prepared for large file sizes, time for color correction, longer render times and playback buffering if you are planning on using them in your traditional edit.


New Civil Rights Footage at Global ImageWorks - Rare Interviews, Conversations, and Much More in HD

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Just in to GIW is outstanding and unique 1960s footage featuring prominent Civil Rights leaders and counterculture movement personalities. This collection captures an important record of the spectrum of leftwing politics and personalities during the turbulent Sixties. 

Footage includes coverage of the 1967 Dialectics of Liberation congress in London which was a meeting of radical political leaders, Marxist intellectuals, and existentialists. Organized by R.D.Laing, participants include Stokely Carmichael, Allen Ginsberg, Paul Sweezey, Paul Goodman, and Herbert Marcuse among others.

In addition, are several rare interviews, a 1971 prison interview of Angela Davis, a Bobby Seale interview in the 1970s, and Jean Genet interviewing Zayd Shakur (Afeni Shakur’s husband, Tupac Shakur’s mother) in New York City 1969.

In 1963/1964, young cinematographer Robert Elfstrom ventured into a still segregated South. Elfstrom captured the black community struggling with poverty, shown in stark contrast to the prosperous white community of Greenwood, Mississippi.

The footage shows the indignity of segregation, against audio interviews with Malcolm X, John Lewis, and others. The footage culminates with Fannie Lou Hamer giving an impassioned speech at a black church.

 

Monetizing Content Archives: a Discussion with Archive Professionals and Work-Flow Experts

The COVID-19 pandemic has been a pressure test for organizations of all kinds, and footage archives are no exception. How have they adapted to the exigencies of remote work? Is demand for archival content holding up? What can media companies do to fully unlock the commercial potential of their archival collections, and which technologies show the most promise in this evolution? After four-plus months of lockdown, footage companies are beginning to see what’s working and what isn’t, and where the opportunities for change lie.

We had the chance to discuss these issues with a panel of archive professionals and work-flow experts in a recent webinar called Monetizing Content Archives, sponsored by InSync Technology. To watch the full webinar, please click here.

 The Monetizing Content Archives webinar consisted of two panels. The first, including Razib Chatterjee (RTE), Kathey Battrick (Asharq News) and David Seevers (Footage.net), and moderated by Noelle Pratt, focused primarily on how archives are maintaining operational continuity and accessing collections remotely, as well as the impact of the lockdown on demand for archival content. The second, which consisted of work-flow experts James Whitebread (Masstech), Matt Eaton (GrayMeta) and Paola Hobson (InSync), and moderated by Darren Whitehead (IABM), focused on the ways that technology can unlock the value of content archives by overcoming barriers in finding, accessing and repurposing archival material to meet the latest standards in terms of quality and compliance. It was an interesting cross section of panelists and perspectives.  

The Archive Panel

RTE

Razib Chatterjee, Manager of Content Syndication and Licensing at RTE, brought the most direct, on-the-ground experience to the discussion of how large media archives are faring during the pandemic. With a collection dating back to 1961, the Irish Republic’s national broadcaster provides a good example of how a “hybrid archive,” containing both digital and physical content assets, is adapting to the exigencies of the lockdown.  

Chatterjee credited the “immense capability” of RTE’s IT department in setting up remote working capabilities for “close to 1000 employees pretty much overnight,” as well as innovative problem solving, which meant that both RTE’s “internal and external clients received the content when they needed it.”

“The archive department had been prepared for this scenario, even though none of us thought it would last this long,” said Chatterjee. “We had designed new workflows and were able to implement them efficiently. We still operated with a skeleton crew onsite during the whole period, who were supported by our teams working remotely from home and there was no service disruption. Our employees largely embraced this change and even used their own infrastructure and in some cases devices to ensure that the jobs got done.”

As for demand for archive footage, Chatterjee has “absolutely” noticed an increase during the lockdown. “Program makers were looking towards archive to create new archive-based programs quickly and cost effectively to fill schedules,” he said. “I think the Eurovision Song Contest was a great example of how pretty much all EBU broadcasters had to quickly produce look back programs instead of broadcasting the live show from Rotterdam. In terms of licensing content, we were thankfully able to deliver, license and finish major documentaries that were already in the pipeline. A clear indication of increased archive demand is the fact that at the half year mark, our revenue was ahead of 2019 at this stage.”

 Going forward, RTE is planning to begin digitizing its entire archive of TV, radio and photographs. As part of that project, they'll be looking to both future proof these collections and meet the growing demand for rapid access to the collections by both internal and external users. Enhancing the associated metadata will be crucial, and Chatterjee fully expects to draw on a range of technology solutions, including AI, facial recognition and speech to text to meet the challenge.

“Rights management is probably still the single biggest challenge facing a lot of content owners, especially broadcasters like us,” he added. “The key will be to develop a really efficient digital rights management system that can unlock the potential to monetize content without compromising on copyright and related issues.”

Asharq News

Kathey Battrick, Senior Manager of Library and Media Management at Asharq News, a new Dubai-based multi-platform news channel, is starting a fully digital archive from scratch. Utilizing cutting-edge media management technology and a robust infrastructure, and with no legacy analog media to worry about, her operation has been relatively unaffected by the pandemic lockdown. Her experience offered a glimpse of how archives may be designed and managed going forward.

“We are in a fortunate position to be launching using the latest technology and full-IP enabled infrastructure,” said Battrick. “The technical teams and our suppliers were able to react quickly and facilitate remote working for my team. Our challenges were less about the technology and archiving, but more about the team and training. I have a new team and everyone joined us shortly before or during lockdown itself.”

Once the channel launches, Battrick will oversee both the production archive and the cataloging of the content archive in a fully integrated media ecosystem. The archive area consists of an LTO8 archive system from oracle and Diva archive interfacing with Avid Media Asset Management and Production asset management (PAM).

“We're using Avid MediaCentral Asset Management at Asharq News,” she said. “The production files and archive can be accessed by the same interface so managing the assets across both is important. It means I have a good understanding of the life cycle of our files and content requirements right through from production, to archive and then ultimately back to our end users in the newsroom. As asset management technology and workflows continue to become more integrated and efficient, I think we will see more hybrid roles.”

Because content can be added to and accessed from the central archive in Dubai from anywhere around the world, remote access is fundamental to Asharq’s production and archival system.

“Although our archive is managed in Dubai, we have bureaus and users on location and overseas so it's important for us to have a hybrid of virtualized on-prem systems and cloud applications that provide us with the agility and speed to react to breaking news,” said Battrick. “For example, we're using Media Composer Cloud which enables assets to be accessed, edited and checked in from outside.” 

Footage.net

David Seevers, Chief Marketing Officer at Footage.net, talked about how Footage.net is helping footage companies differentiate themselves in the global media landscape. 

“Our role is to match active footage customers with footage providers who can meet their specific content needs,” he said. “By bringing together many of the world’s leading footage collections and making them discoverable through a unified footage search platform, we show our users a range of footage options for a particular search and introduce them to providers they might not have known about otherwise. This opens up new opportunities for our archive partners to differentiate themselves and acquire new customers on an ongoing basis.” 

Seevers talked about the critical role of quality meta-data and cataloging in discovering relevant content, a topic that came up frequently in the second half of the panel. 

“Our goal is to surface the most relevant content for a particular search, so we don’t favor any collections in the search results,” he explained. “The quality of the cataloging is very important, so the companies that give us more data to work with, like more detailed descriptions of the footage, tend to do better in our searches.” 

He expressed cautious optimism about the archive industry going forward, noting that activity on the Footage.net site was up by an average of just under 20% during the lockdown, which he noted was a good sign for the industry in general. 

“We did a survey of the footage industry back at the beginning of April to see how they were responding to the pandemic-related lockdowns, and the results were encouraging,” he said. “And nearly everything I’ve heard from colleagues in the footage world about their business activity over the last four months has been positive. The main take-away from our survey was that, generally speaking, footage companies have adapted their operations to the demands of the pandemic-related shutdowns. Working remotely appears to be a viable alternative for a vast majority of companies, allowing them to maintain their core operations during the global lockdown.” 

He agreed that expectations for rapid turnaround and delivery had increased over the last few years, but noted that smaller, independent archives could still remain competitive, provided they pursued the right content development strategies. 

“Ultimately it all comes down to the nature of the collection,” he said. “Companies with unique, highly relevant, or at least hard to duplicate footage, can endure without attempting to compete head-to-head with the larger tech-driven platforms. This is especially true of companies in the archival and editorial categories. Overall, I think footage providers have made great progress in making their collections more accessible to outside users, but the quality of the cataloging and presentation will continue to be uneven for the foreseeable future. High-quality footage research will continue to require skill and experience, and figuring out how to get new users up to speed and able to navigate and fully exploit these varied resources will be an ongoing challenge and a key business opportunity.”

The Tech/Workflow Panel

The consensus among the tech panelists, including James Whitebread (Masstech), Matt Eaton (GrayMeta) and Paola Hobson (InSync), was that the COVID lockdown has led many media companies to think more actively about the value of their archives, and to begin taking the necessary steps to prepare their archives for commercial use.

Masstech Innovations

James Whitebread, Chief Digital Officer for Masstech Innovations, a company that helps organizations optimize their video assets by automating smart asset movement and transformation across cloud and other storage tiers, has seen a renewed focus on archives during lockdown, driven primarily by their customers’ inability to generate new material and film location. 

“I think it really does seem that lockdown has accelerated plans that many customers were perhaps already investigating, but have perhaps been forced or decided to push forward with as a means to mitigate the impact of the lockdown on their business,” he said. “We’ve seen a number of existing projects be prioritized by customers, new projects initiated as a response to COVID and you know we’ve been working with those customers to help them with their urgent needs.” 

A key focus for Masstech is helping clients move their video assets to the cloud, based around Kumulate, their core media-management system. 

“We’ve had a connector in place to multiple cloud partners such as Amazon, Microsoft, Google and Oracle and many others,” he said. “And this is allowed us to help customers move their key content up to the cloud, so that their remote teams can work seamlessly while our archive tool-set Kumulate takes care of the storage management back in the office, back in the data center, whether that’s on tape, disk or up in the cloud. Meaning that our customers have been able to edit their content up in the cloud while they’re working at home, pull that content down to their house, work on that content and be able to push that content back in the archive upon completion.” 

Recognizing that customers are eager to exploit older archival content during lockdown, Masstech is also focused on addressing the critical issue of meta-data creation.  

“We know that customers have got large amounts of content in their archives,” he said. “And in recent years they’ve moved to adopt higher levels, or they’ve created higher levels, of meta-data, but of course some of their older content in the archive, has got very little meta-data beyond perhaps basic technical meta-data.”  

Their solution, according to Whitebread, is to use machine learning and AI to create new meta-data.  

“We’ve been working with AI and machine learning technologies, such as those from Amazon, Microsoft, but of course our partners at GrayMeta, to allow customers to selectively choose assets from the archive, all of the assets from the archive, and be able to create new valuable meta-data that can enhance the onward chain, such as facial recognition, locational or object detection. And we can make all of that metadata searchable, meaning that you can quickly find examples of content such as Tom Cruise, where Tom Cruise appears on the beach, and you can jump to those results or even jump into the individual video itself and see that meta-data actually visually represented on the timeline. So we make it considerably easier for customers to leverage the content they have in there archive or repurposing or for monetization.” 

Masstech is also helping companies get their content out to market, offering a new product called Gallery, “aimed at allowing customers to set up a B2B content sales platform in minutes.” 

“The set up creates a branded portal and allows our customers customers to be able to access, browse and search and browse all of the content within that archive portal and see all of that AI meta-data that I spoke about earlier, seeing that data represented on a timeline. So anybody who is looking to search and buy that content can use that enhanced experience using the AI data to be able to quickly narrow down the search, find a clip or even a segment of the clip they want to purchase, and they can purchase it quickly and easily from our customers within that Gallery platform.” 

Masstech has also created a new visual file-based ingest tool called Gateway, aimed at “helping to reduce the overall cost of content acquisition and helping customers really move away from simple file based ingest of transferring it from one landing pad or one operations team to another, providing that validation, automatic registration into the archive as they ingest.”

GrayMeta

Matt Eaton, Managing Director EMEA for GrayMeta, a leader in transforming physical assets to digital, connecting to and accessing assets from anywhere in the world, and creating meaningful metadata using machine learning and AI services, also noted a renewed interest in archives during lockdown.   

“Definitely with production and live sports coverage being disrupted, we’re seeing a lot of work being done to unlock the value of archives, make clips available to consumers and other distribution platforms,” said Eaton. 

Eaton is also seeing customers restart digitization projects during lockdown. He pointed to a recent increase in interest in SAMMA, GrayMeta’s hardware/software solution for automatically or semi-automatically migrating content from videotape to digital form. 

“There’s been an uptick in inquiries around our video digitization product SAMMA,” he said. “This has been used by archives to take decaying tapes that may only be played once and digitize them into multiple digital formats. And we’ve been working with a number of different clients in recent months, from collections in the Caribbean, to sports archives, to national heritage archives, looking to preserve and use their content more effectively right at the beginning of the supply chain to get them into a digital format.” 

GrayMeta is also leveraging its Iris system, which enables access and playback of any video file type from the cloud or on-premise storage directly within a browser, to help “media companies and archives access their master assets remotely via home Broadband speeds.”. 

“Our customers are also increasingly moving their content supply chains into the cloud, or storage hybrid models, that also require remote playback and QC,” he said. “So, at the start of 2020, GrayMeta had a plan for enhancing our Iris QC product to enable remote review and QC with visual audio scopes, but COVID has definitely accelerated that development plan for what we call ‘Iris Anywhere’.” 

Eaton delved into the benefits of automating meta-data creation and content tagging using AI and machine learning, a key step in enabling the exploitation and monetization of archival content, using tools like GrayMeta’s Curio platform.  

“We advocate implementing machine learning with a human in the loop,” he said. “And using this approach, we’ve found enriched metadata can save tasks that previously took months now take weeks, tasks that took weeks take days and so on. And some of those tasks that previously taken up to two days are taking a few minutes because they can find all those clips very quickly. Some of our customers have likened the search and discovery benefits of machine learning to helping them find needles in haystacks and I think this is a good analogy.”

InSync 

Paola Hobson, Managing Director at InSync Technology Ltd, specialists in signal processing hardware and software for the professional broadcast and media industries, talked about the importance of repurposing existing material into multiple versions to get “the most content out in the shortest possible time.”  

“Cost is one of the most important things to think about. Because content owners need to get as many versions of their material distributed as quickly as possible and keep the cost down, which means that you’re going to make more money out of it. Keeping the cost down with efficient workflows, for example parallel processing paths, you can deliver all the different versions of the content in the shortest possible time. Things like cloud base standards conversion, obviously InSynch has one, these are key enabler‘s because the content be routed through any number of software conversion instances, and then delivered to the distribution server or the play out server in the cloud. So it’s something that’s kind of there and waiting when the content is chosen.”  

She also stressed the critical role of maintaining consistent quality, as well as future-proofing for long-term standards compliance. 

“I think viewers are very conscious of quality. So any conversion that you might have to do on your content, for example if it’s frame rate conversion, because you’re taking material from a 50 Hz archive that needs to be broadcast at 59, or if you’re up converting, let’s say it’s HD material and you want to show it at UHD, or even in the case of some really old SD material, where are you might need to do both up conversion and an aspect ratio conversion, you really do need a good quality converter, otherwise people are going to be dissatisfied. And certainly for frame rate conversion you need a really good motion compensated converter. Now you can get a good motion compensated converter in software, which fits the workflow in the file domain. But even if you’ve got old material that’s coming off tape, you can convert it before you ingest it. For example, you can use a good hardware motion compensated converter. And I think the thing to think about really is about the quality longer-term, so you want to deliver relating to the current standards, but we’ve got to think of the future as well, whether that’s going to be more HDR variance, things like that. So getting your conversion right for all these different versions of the content that you’re going to take out of the archive and then store them as your new masters in those new formats, there you are, you’ve got them ready to go again for the future.” 

Like other components of production workflow, standards conversion is also increasingly moving to the cloud.  

“It’s not just about accessing the content remotely, it’s then what are you going to do with it,” she said. “Can you do, for example, standards conversions remotely. And certainly, if you have a cloud base workflow, this is definitely a place where you can then integrate a cloud-based standards convertor. So, for example, at InSync we have our Frame Former converter, that’s a cloud converter that you can also run it on premise.  And the idea is that you can access it remotely, control it remotely. So if you go back to what James was talking about much earlier on, if your material is in the cloud already, so it’s in cloud storage , and then Matt’s tools are working in the cloud and you’ve found your content, and then you have your Frame Former converter in the cloud you can just pass it through and then generate all the frame rates and formats that you need and then put it back into the relevant cloud storage. So these are things which are happening now, they’re available now and they support exactly the workflows that we heard people talking about earlier on.” 

Conclusion

As the COVID lockdown grinds on, media companies will continue to wrestle with any number of issues, from gaps in their programming schedules to the need to fill footage orders remotely, and will in turn look to optimize the enormous value of their content archives. 

For companies with large troves of older, legacy media collections, this will mean a determined effort to digitize their analog media. Enhanced meta-data will be a fundamental factor in fully unlocking the value of existing content, and even fully digital archives like Asharq News will have to contend with ongoing cataloging issues, given that digital capture means that more footage can be generated. This is where AI and machine learning tools show enormous promise.  

With work-from-home increasingly the new norm, hybrid cloud storage and workflows will be ever more essential. And in this global market, understanding and planning for standards conversions and compliance will be critical for companies that want to distribute their existing content across all available platforms and channels and maximize their ROI.  

As Razib Chatterjee aptly noted, “on the main, this pandemic has fully endorsed the immense value archive brings to programming and schedules.” Going forward, it is safe to say that as workflow technologies continue to provide program makers with deeper access to archival resources, their value will only increase.

 

 

The Vote, Now Streaming on PBS's American Experience

The Vote, a two-part documentary streaming now as part of PBS’s American Experience, tells the story of the 72-year struggle of American women for the right to vote. Written and directed by Michelle Ferrari, the film traces the suffragist movement’s journey from Seneca Falls in 1848 through the eventual passage of the 19th Amendment in 1920. It is a story of incredible, multi-generational perseverance.

“The struggle for women’s suffrage takes over seven decades,” journalist Elain Weiss says in the film.  “The women who began the movement didn’t live to see it come to fruition. And the women who took it over the finish line weren’t born when it began. And, so, you have these three generations of American women who all come together in this extraordinary movement for equality.”

The film is full of compelling personalities, all brilliantly brought to life. In the final decade of the battle, the split between the movement’s two leading figures, Alice Paul and Carrie Chapman Catt, makes for riveting viewing, with Paul’s unyielding drive for a federal amendment and inflammatory tactics on one side, pitted against and Catt’s more politically incremental strategy on the other.

It’s a history that many people often know only in part, including Ferrari, the films writer and director. As she said in an interview with Ms. Magazine, “I was very excited about the prospect of doing it in part because I knew very little about the suffrage movement. It should be said in that regard that I majored in American history in college. I have a graduate degree in American history, and yet I knew very little about the women’s suffrage movement. I figured, given my background in history, I couldn’t possibly be alone in that.”

The film benefits from a trove of great archival material, much of which was originally orchestrated by Alice Paul, who had an early understanding of the power of media, and made sure all the major events and demonstrations were documented and publicized at the time.

“She understood how media could help further the cause, and had everything photographed and filmed,” Ferrari said in an interview with Current, the public media news service. “Two key events captured on film in Washington, D.C., were the 1913 suffrage parade, which erupted in violence as an estimated 8,000 women marched down Pennsylvania Avenue; and the first-ever picketing of the White House, which began in 1917.”

The filmmakers don’t evade hard truths, including the racial tensions that emerged at key moments of fight. While the early suffragists were staunch abolitionists, the movement was uneven throughout its history in its commitment to Black women’s rights.

“This struggle is going on at the same time that the nation is resolving still the Civil War. How? By jettisoning black Americans, from the story and from the actual political culture,” historian Martha Jones says in the Film. “And so maybe we shouldn’t be so surprised that some American women come to that same notion of a compromise. Which is that African-Americans might be dispensable for other kinds of goals.”

But in the end, the suffrage movement, by winning the vote for all women, both Black and white, moved the country closer to its founding ideals.

“What the 19th Amendment meant for American democracy is hard to overstate,” author JD Zahniser says in the film. “Half the population winning the vote is a tremendous step toward this young country America finally achieving the equality the Thomas Jefferson wrote about in the Declaration of Independence. A huge step towards America achieving its potential.”

Sunny Side of the Doc Wraps Successful Connected Edition; Awards Winners Announced

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Sunny Side of the Doc 2020, the Connected Edition, wrapped on June 25. The team in La Rochelle worked around the clock to pull it together and, while the buzz and spirit of the live event were sadly missed this year, the Connected Edition was a success, with more than 1,700 accredited industry professionals from more than 60 different countries taking part. The Connected Edition platform registered just under 100,000 page views, and provided registered attendees with the flexibility to attend and participate in more sessions, given that they could all be streamed on-demand – a major benefit. All projects and programs as well as conference and round tables replays will be available (for accredited professionals) via www.sunnysideofthedoc.com until September 30, 2020. Please click here for detailed breakdown of key attendance metrics.

For a quick video recap of the event, please click here.

Among the 950 companies taking part, many were able to host one of the 350 stands and pavilions at the virtual marketplace. A big question this year was whether the virtual booths would have real value, and, from our perspective as an exhibitor, having a virtual presence at the event did generate inquiries and meetings, and was worth the investment.

Over and above the networking, panel discussions and parties, the opportunity to showcase new documentary work is central to Sunny Side’s mission, so keeping this alive during the COVID lockdown was a great service to both the documentary community and the television industry. Reducing the price for accreditation and entry fees for projects and programs clearly had an impact on the number of documentaries submitted. With 1,360 projects and programs to explore via the online screening library (+134% compared to 2019), the Connected Edition was able to respond to the demand for documentary content with international potential.

“After the health crisis and lockdown which we have all faced, this is a strong signal which highlights the crucial need for new documentary productions for television channels and platforms,” remarked Mathieu Béjot, Sunnyside’s Director of Strategy and Development.

The winners of this year’s Sunny Side awards were announced live at the event, and a full list can be found here. Of special interest to the archive community, the winner of the Best History Pitch was Kozak, and the Archives Storytelling Award was as A Perfect Spy.

An Interview with Elizabeth Klinck on Sunny Side 2020 Archive Workshops

Elizabeth Klinck will Moderate the Archive Workshops at Sunnyside 2020.

Elizabeth Klinck will Moderate the Archive Workshops at Sunnyside 2020.

We’re looking forward to Sunny Side of the Doc 2020, the Connected edition, which kicks off on Monday, June 22. Footage.net will be an exhibitor, so please stop by our “virtual booth,” which you can find under the exhibitors tab once the conference platform goes live. History will be the focus at this year’s edition, and as part of that theme, archival researcher extraordinaire Elizabeth Klinck has assembled four Archive Workshops, which will be streamed throughout next week to registered attendees. We had a chance to catch up with Elizabeth and find out more about the content of each workshop.

Footage.net: The workshops all look very interesting. Can you give us a sense of what you will be discussing in each one?

Elizabeth Klinck: In the first workshop (Archive Workshop #1: Sourcing) we will delve into the making of  "Berlin 1945", a historic documentary from Autentic Distribution that takes viewers into Berlin's most fateful year through the eyes of those who lived through it: the German population and the Allied soldiers. Panelists will include Patrick Hörl, Managing Director, Autentic GmbH, and Andrew Bird, Editor - Zero One Film, and they will walk us through the various sources used by the producers to tell their story.

In the second workshop (Archive Workshop #2 : Technical Aspect, Restoration & Colorization) we’ll learn about the latest techniques and technologies for restoration and colorization. Many docs offer fully restored and often colorized archival footage, which can convey a much greater empathy for the people depicted in history. In this session we will speak with Vivek Rao, the founder and president of West Wing Studios, one of the most successful companies for colorization and restoration worldwide, and Stanton Rutledge, producer/colorist, also at West Wing.

Our third session, entitled No Narrator? No Interviews? No Problem, will be a masterclass with award-winning filmmaker Tom Jennings, who has written, directed, and produced more than 400 hours of programming. Always looking for new ways to tell informative and entertaining stories, Tom has perfected an archive-only format. He will share both his tips as well as some impressive clips.

The fourth and final workshop will be a case study of “The Secret History of World War II,” which looks into the remarkable stories behind the key events of the planet’s most destructive conflict. Panelists will include Kate Beal, the CEO and co-founder of Woodcut Media, and Elisabeth Hadgstedt, Head of Content & Broadcast at France’s Histoire TV, and together we will look behind the headlines and into the heart of each incident to unveil the archive and characters uncovered to tell these incredible true stories.

FN: Are you moderating all four workshops?

Yes, I am.

FN: You must have had your hands full getting this organized. Was the switch to an online format challenging?

EK: I’ve always enjoyed a new learning curve.  For every good session, the process of getting to know the panelists, preparing a good session outline, and being familiar with the projects being discussed is the same whether it is online or in person.  

FN: Who are the workshops tailored for?

EK: Each workshop will bring new information to various types of participants – international co-producers, archive producers and researchers, as well as archive houses.  They will hear a masterclass, discover a case study of an international archive co-production, learn about colorization of archives, and explore new sources of material.

FN: You have some very interesting topics. How did you narrow it down to these four?

EK: We looked at many different possibilities and decided on these four for the best breadth and depth of scope when discussing archive topics.

FN: How can people view the workshops?   

EK: They can register at this link: https://www.sunnysideofthedoc.com/accreditations/

FN: Will the audience be able to participate and ask questions?

EK: Yes, there will be a 30 minute Q&A after the presentation. We encourage people to ask lots of questions and to take advantage of this incredible brain trust of archive production expertise.

FN: Is there a cost for viewing the workshops?

EK: All of the registered participants will have access to all of the sessions including the workshops, at no additional cost beyond the accreditation.  

FN: Will they be available for “post Sunnyside” viewing or will it only be a live stream?

EK: All the sessions will be available until September 30th on the Online Videolibrary. In addition to the four archive sessions there are more sessions on history programming, as well as two history pitches

FN: Well, thank you very much Elizabeth. We are looking forward to seeing these great workshops next week. Best of luck!

 EK: Thank you!

Now Streaming: Laurel Canyon - A Place in Time

Directed by Alison Ellwood, Laurel Canyon: A Place in Time, now streaming on Epix, captures the open, laid-back vibe of the mid-sixties folk/rock scene that emerged from the secluded, rustic Laurel Canyon neighborhood located just north of LA’s Sunset Strip, providing a detailed map of the friendships and rivalries that led to the formation of such iconic bands as Crosby, Stills, Nash and Young.

The film makes immersive use of era-defining songs like “So You Want to be a Rock & Roll Star,” by the Byrds and “California Dreamin,” by The Mamas and the Papas; extensive archival footage and photographs; and voice-over narration from key Laurel Valley players like Joni Mitchell, Roger McGuinn of the Byrds, David Crosby, Graham Nash, Jackson Browne and Bonnie Raitt, as well as on-camera commentary from photographers Henry Diltz and Nurit Wilde, who were both deeply enmeshed in the scene and documented much of it from the inside.

Laurel Canyon had all the ingredients for a creative revolution, including cheap rent, a growing community of artists and easy access to LA’s seminal performance spaces. As David Crosby says in the film, “there are periods in history when there are peaks and nobody really knows why. Paris in the thirties, the Renaissance in Italy, Los Angeles around 65, 75. Very hard to define it, but the proofs in the pudding. The music’s there.”

Reelin’ in the Years Launches Fully-Searchable Photo Site, Showcasing its Expanding Archive of Music-Releated Still Images

Reelin’ In The Years Productions, one of the world’s leading footage licensing companies, announced today the launch of a new website dedicated to their growing collection of music-related photographs, photos.reelinintheyears.com, featuring a fully searchable database. Known for their deep archive of music and entertainment footage, Reelin’ in the Years began offering still photos last year. The Reelin’ in the Years Photo Archive now includes over 200,000 images from the 1930s to today, featuring unique photos of artists ranging from Elvis to the Sex Pistols, the Beatles to Beyonce, Muddy Waters to Bob Marley, and everything in between.   

RITY’s new online photo database currently contains 25,000 images, which are all fully metatagged, mining all available detail, including date, location and venue, with more photos added daily from their vast photo collection.

The RITY Photo Archive includes the work of many legendary photographers, such as Michael Zagaris, Janet Macoska, Tom Gundelfinger O’Neal, Patrick Harbron, Richard E. Aaron, Robert Alford, Eric Hayes and Eddie Wolfl, as well some truly remarkable private archives, all of which contain both and iconic and unseen images of musical artists spanning the last ninety years. In addition to the well-known photographers, RITY has sought out lesser-known artists who also took powerful images that capture unique moments from music history. RITY is also proud to represent the photo archives of legendary rock artists such as The Doors & Janis Joplin.

“Our mission is to focus exclusively on images of music artists, ranging from Nashville in the fifties to Motown in the sixties to the London punk scene in the seventies and beyond,” said David Peck, president of RITY. “We’re also proud that in addition to offering iconic images, a large part of our archive has not been seen before and isn’t the same photos that tend to be used over and over again.”

RITY’s new photo site offers an array of essential search tools, allowing users to look up images by both date and venue. For example, users can search for “David Bowie 1978” or “David Bowie Madison Square Garden 1978.” Employing the advanced search filter, users see everything available for an artist during a specific date range, or all photos for specific year. To receive lo-res watermarked images, users can fill out a simple online form and the photos will be sent. Since the site has just been launched, and over a  hundred thousand images are yet to be watermarked and uploaded, users are encouraged to contact RITY directly to find additional images.

For over 20 years, the RITY team’s love of music and entertainment footage has been the cornerstone of their archival work. Their passion and focus have made RITY a go-to source for footage licensing, and they are bringing the same energy and dedication to their evolving still image business. 

 As Tom Gundlefunger O’Neal, who in 1969 took the cover shot for Crosby, Stills, Nash & Young’s iconic album “Déjà vu”, put it, “When it came to my photos, David Peck was tenacious and one of the best sleuths I've seen in identifying dates and locations of where my photos were taken. I honestly have never seen anyone like him before. His attention to detail is insane and because of this, my photo archive is catalogued in a way I could never have dreamed of.”

Along with their moving image archive of 30,000 hours of music footage spanning 90 years, The Reelin’ In The Years Footage & Photo archive is now a one-stop shop for moving & still images of music’s greatest artists.

If you are a photographer who has taken images of musical artists and you would like a place where your work is honored and appreciated, please contact RITY to discuss possible representation.

The Reelin’ in the Years Photo Archive site can be accessed directly at www.photos.reelinintheyears.com, or through RITY’s main site, reelinintheyears.com

 

FOCAL Awards Postponded Unitl Autumn

FOCAL International has announced that, due to the ongoing COVID-19 pandemic, they have postponed the FOCAL International Awards 2020 gala, which was set to take place on June 18th, until Autumn 2020.

FOCAL remains committed to honoring and recognizing the very best use of archival footage across the creative and cultural industries, as well as acknowledging the best examples of restoration and preservation practices. The 2020 Awards competition is still going ahead, and FOCAL is currently monitoring ongoing changes in the UK Government rules surrounding COVID-19 to ensure they deliver a safe Awards later in the year. Further information will be available shortly.

The production and restoration shortlist nominations will be announced late May, followed by the Personnel awards, followed by the Company of the Year and Jane Mercer Researcher of the Year awards in June.

Anyone with further questions about this year's awards is encouraged to contact FOCAL directly at info@focalint.org.

Archives Bridge the Gap as "Content Desert" Looms

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We’ve been talking with a range of industry experts to get a better sense of what lies ahead during the gloabl pandemic lockdown, and this month documentary industry veteran Peter Hamilton was kind enough to provide his take.

I’m reading in today’s The New York Times about the complex system of COVID-testing and armband ID’s used by the director Baltasar Kormakur to get his Sci-Fi series back into production.

According to Mr Kormakur, as well as a rigorous protocol for testing, temperature-taking and masking, “those wearing yellow armbands could be near the camera; the actors, and the makeup and costume professionals wore black and spent most of their prep time in a cordoned-off area of the set; and the producers, script supervisors and visual effects people wore red and were sequestered near the monitors. A few lucky ones were given blue armbands, which allowed them access to all areas of the set.”

And he’s working in his own studio in Reykjavik, Iceland, the most isolated and controllable country in Europe!

Imagine how tough it’s going to be to resume work in Los Angeles, New York, Vancouver, Toronto and other big-city production centers where COVID has suspended the hundreds of Scripted series that were in the planning or production stages?

And it’s not just Scripted that is impacted: most popular Reality series – from ‘Occu-soaps’ to shiny-floor elimination shows like “Dancing With the Stars” -- are locked into a COVID ‘pause’.

These programs are the viewers’ must-watch or binge-able favorites on platforms like Netflix as well as on broadcast and Cab/Sat networks.

 Pipeline Shrinks / Audience Up

According to Omdia Reasearch, Netflix launched 657 first-run original titles in 2019, up from 386 in 2018. A comparable 70% increase was projected for 2020.

The suspension of so many of these programs means that we’re heading towards a ‘content desert!’

For Netflix, the program drought will be even more severe because it is also losing its high-rated reruns of broadcast classics like Friends because they are returning to the studios' owned streamers, like WarnerMedia’s HBO Max.

Meanwhile, viewing has expanded as stay-at-home workers and the suddenly unemployed eat up more video entertainment than ever.

A comparison of Nielsen audiences from a year ago to the COVID period to date (3/11-5/12/2019 vs. 3/9-5/10/2020) reveals substantial gains for most cable networks. Examples are CNN (136%), FYI (65%), Smithsonian (41%), Nat Geo Wild (35%) and TLC (27%).

These gains are all the more impressive when they are set against losses in distribution due to cord-cutting: PayTV platforms lost 2.1 million video subscribers in 1Q 2020.

Filling the Gap

How can programmers refill their suddenly shrunken pipelines with fresh and appealing programs?

The Documentary & Unscripted category is an important solution because many productions can be developed and delivered without running into COVID distancing restrictions, and the Archive is an important and widely used solution.

Archive-based programs can be developed and produced with small, remote teams led by a researcher/writer and editor. The process is efficient, enabling shorter terms from green light to delivery compared with Scripted. Costs can often be controlled via output deals with major archive owners.

At the most basic level, producers are filling gaps in the schedule with narrated clip shows, ranging from battle highlights to animal behavior.

History

In the History genre, buyers are looking to commission Original programs that are footage-based and tied to anniversaries of era-changing events.  These are the moments that generate extensive social and press coverage which the platforms can in turn harness to promote viewer awareness and sampling.

A notable recent model is Tom Jennings’ Apollo: Missions to the Moon for Nat Geo Channel that recently won for his 1895 Films the PGA award for Outstanding Producer of Televised or Streamed Motion Pictures against competition from Scripted series led by Breaking Bad.

Jennings uses a cinematic style in which a multi-layered archive is cut to tell the story without narrator or presenter.

In a call-around to producers last week, I learned of archive-based projects that are in contract and that focus on great leaders, celebrity bios, historic Sports rivalries and championships, wars and political conflicts, and more.

Other History projects earning a positive response from commissions are inspired by Nutopia’s Last Czars for Netflix. The format blends the archive with CGI and small-ensemble dramatic reenactments that can pass COVID production safety rules.

Backyard Wildlife

The popular Wildlife pipeline needs to be replenished now that David Attenborough and the big BBC Natural History Unit-style productions are grounded.  

Buyers are turning to “Backyard Nature” where cinematographers combine their owned footage with current sequences that they can capture locally. This marks a shift from the magnificent sequences of Our Planet to endearing character-based stories of animals and people.

Wildlife producers are also turning to the archive: for example, the format of Natural History New Zealand’s Extreme Animals is a countdown of the ten most extreme critters for any given behavior or location. The sequences are drawn from the NHNZ’s deep archive.

The audience for Current Affairs programs has also expanded in response to recent unsettling political shifts that are now being amplified by coronavirus, and the category also relies on footage.

While the archive is unlikely to deliver a replacement for a suspended next series of a scripted hit like The Handmaid’s Tale, the good news is that in the coming “Content Desert,” the archive will pay an important role in filling the shrunken pipeline. The archive is already creating programs across many genres and cost levels that will help bridge the gap between the pre-COVID production boom and post-COVID recovery.

Article by Peter Hamilton.

The Seventies: A Decade of Change at Global ImageWorks

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Flashback to the 1970’s with Global ImageWorks. Take a retro look at the decade which brought us bell bottoms, platform shoes, Atari video games, muscle cars, and a break into the DNC headquarters. GIW celebrates the fashion, fads, and social change that defined a decade.

1972 brought us the Watergate scandal which shook America as the ensuing trial was broadcast ‘gavel to gavel’. Dick Cavett was the only talk show host to interview every Watergate figure.

April 1975, the Vietnam War comes to a close with the fall of Saigon

The Sexual revolution, the pill, Roe. v. Wade, gay rights, music, fashion and new found freedoms. Welcome to the 1970’s. 

Before the dawn of the VCR, cinemas are packed with moviegoers eager to see Marlon Brando in ‘The Godfather’, Woody Allen in ‘Annie Hall’, Paul Newman in ‘The Sting’... And what do these actors have in common?

They’re all featured guests on the Dick Cavett Show along with dozens of other actors, directors, and musicians who made iconic performances in the 70s!

Footage Industry Pandemic Impact Survey Complete & Ready for Distribution

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Footage.net has completed the Footage Industry Pandemic Industry Survey, which captures a real-time snapshot of how footage companies are responding to the pandemic-related disruptions that began to take hold worldwide in early March. At this stage, it looks like most footage companies, at least in our sample group, have been able to maintain their essential business operations and continue delivering footage to their customers.

The 36-page report is now ready for distribution and, as promised, we’re making it available for free to the footage industry. Please click here if you would like to receive a copy. We will email you a link straightaway.

The survey ran from April 9 to April 19, 2020. Over this period, we invited over 550 footage companies from around the world to participate. In the end, 67 companies completed the survey over eleven days, and we are very grateful for the help of all the footage companies that participated.

The survey included 16 total questions, the first five of which were demographic in nature and intended to provide context and perspective on the key findings. As a group, the companies that participated are based mainly in the US or the UK; they are, for the most part, mature businesses (ten years or older) and trade predominantly in archival, news and location-based footage.

Many of the key findings in this survey are cautiously optimistic. While footage companies have been disrupted by the pandemic-related shutdowns, they seem to have adjusted to the new business environment quickly, and at this point, the impact on their businesses has not been overwhelmingly negative. Encouragingly, only 12% of the sample group indicated that the pandemic has “very significantly” affected their footage business.

Most of the key operational functions we asked about, such as delivery of footage to customers, managing staff, and access by staff to analog film & tape collections, appear to be relatively unimpeded, meaning that the companies are able to manage their core operations while, for the most part, working remotely.

New inquiries are coming in, and while final sales have slowed for the majority of companies over the last month, this may prove to be a temporary dip as clients reorient themselves and, hopefully, resume their work.

Going forward, only a small percentage (6%) expect the pandemic to have a positive effect on their revenues over the next 12 months. 71% believe their revenues will either decrease (37%), or that it’s “too early to tell” (34%).

Most respondents (43%) believe it is “too early to tell” whether the pandemic will drive an overall increase in demand for footage. That said, 27% believe the pandemic will cause an increased demand for footage, driven primarily by the difficulties in location-based production, which will be offset by increased archival-based production.

Anxieties about future threats to the footage industry are fairly high. We asked about eight different potential threats, and fear of a global recession led the pack.

Clearly, we are still at the beginning of this crisis, and the future is rife with uncertainty. We hope this report can provide at least a baseline for our industry at this juncture.

Please click here if you would like to receive a copy.

Please stay safe and healthy.

FootageFest 2020 Cancelled, Footage Industry Webinars Scheduled

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Although FootageFest '20 wasn't scheduled to come to L.A. until mid-September, the organizers have decided to cancel this year's conference, and will reschedule the three-day festival in the Fall of 2021.

Since its launch in 2018, FootageFest has rapidly grown to become L.A.'s premier event for third-party content professionals.  Over 200 attendees and two dozen vendors came to its 2018 debut at the Beverly Garland Hotel, and those numbers doubled at last year's festival at the Women's Club of Hollywood. 

The annual conference is produced by U.K.-based Dominic Dare and L.A.-based Steve Kozak -- founders of the Association of Media Content of Users & Providers (AMCUP), a non-profit trade body that recently reached 400 members since its 2014 launch.  Dare is the founder of LOLA Clips (who also gained international prominence after bringing U.K.'s ITN to the United States in the late 1990s). Kozak is Director of Research and Clearances for Jimmy Kimmel Live! 

Other media conferences scheduled for this Fall are still being heavily promoted, including events planned right in the epicenter of New York City. Although it is likely that Los Angeles will be back in business by FootageFest's original September 11-13th dates, Kozak and Dare felt it would be an "inappropriate time to celebrate."  

"Yes, the curve will likely have gone down by September," said Kozak, "but people will be still suffering, and dying this Fall. FootageFest is a fun and exciting place to reunite, meet new people and toast the great works of our peers. It would be inappropriate to host a celebration after a year filled with such tragedy. There will be more than enough time to celebrate next year, where we can travel safely, and also honor all of those we left behind."

In the meantime, Kozak and Dare have begun producing bi-weekly webinars focused on the challenges of working during this quarantine. Another AMCUP co-founder -- Jukin Media CEO Jon Skogmo (originally scheduled to deliver FootageFest's keynote address) produced last Thursday's debut. The viral video-focused webchat featured Jukin licensing rep Andrew Dignan, as well as reps from "Ridiculousness" and The Weather Channel. Nearly one hundred industry members participated in the hour-long webinar.

Next Thursday, April 30th, Dare will moderate AMCUP's second webinar from London, sponsored by LOLA Clips, focusing on how the European community is coping with the challenges of Coronavirus, featuring representatives from Fremantle Media, ITV, INA, Huntley Archives and top UK Archive Producer Kate Griffiths.  The hour-long webinar will begin at 6:30PM GMT - 10:30AM PST - 1:30PM EST.

To register for this webinar:

https://zoom.us/meeting/register/tJIqc-CvqTgqE9Kf9rWdRSsgvLojupPxh1Ji

After registering, you will receive a confirmation email containing information about joining the meeting.

In the next several weeks, AMCUP is planning additional webinars on how specific areas of the industry are working through the quarantine:

Film and TV Licensing: Julie Heath (Warner Bros), Gloria Stabolito (ABC TV), Rick Sievers (Sony) and Archive Producer Adele Sparks ("Five Came Back"). 

News Archives: Bobby Dicks (CNN), and representatives from AFP, Reuters, NBC News and the Associated Press.

UNT Libraries Catches Up on Metadata Work Amid Pandemic Shutdown

WBAP Anchor Tom whalen (1951), courtesy of unt libraries

WBAP Anchor Tom whalen (1951), courtesy of unt libraries

The Covid-19 pandemic has created dramatic changes in the lives of university students and the services that the University of North Texas library provides to students. The Special Collections reading room is closed, and the film archives are safely locked away. For over a month their full-time staff and 25 student employees have been required to work from home.

Although their work on physical collections has stopped, the pandemic has provided the perfect opportunity for catching up on descriptive metadata creation for their digital collections. It has also provided a means for UNT’s 25 student employees to continue to earn paychecks while they watch news footage and create detailed keywords, subject headings and other faceted metadata.

Before the pandemic, UNT’s metadata backlog was close to 100,000 items. This material had gone through quality control and was ingested into their digital preservation system, but could not be made publicly available until metadata was applied. Metadata is a time-consuming process and they generally have 10-15 student employees assigned to metadata creation at any given time. Additionally, all of their students are cross trained on metadata, so even if their usual duty is staffing the reading room or processing collections, they are also able to work on metadata when needed. Currently, all of their students are assigned to metadata and working from home.

In the two weeks between April 1-April 14 the Special Collections department published almost 6,000 new metadata records; bringing with it a vast quantity of hidden archival material to public view.  Among the newly available content in the news archive is a variety of fun footage from 1951, including donkey races in Waco, the coronation of the Queen of the Flying Farmers, an escaped monkey from the Fort Worth Zoo, a birthday party for a 106 year old man, coverage of the annual Neiman-Marcus fashion expo and a three year old who can speak three languages.

During the closure of the university UNT is unable to access physical film and video assets, however, they are still able to provide screeners and license footage from our extensive digital collections. Please contact UNT with footage inquires at specialcollections@unt.edu.

Sherman Grinberg Film Library Digitization Project Update

The staff at the Sherman Grinberg Film Library, located in Chatsworth, California, continue to restore, assemble, digitize, edit, create metadata, and license the historic newsreels that make up the Paramount and American Pathé newsreel collection. Even during these challenging days of the Covid-19 Pandemic, the company continues to serve clients by conducting research and scanning motion picture film remotely.

Under the project leadership of Bill Brewington, General Manager, and Lance Watsky, Manager of the Media Archives and Licensing, the library’s website now contains over 33,000 newsreel clips available for viewing, see: https://filmlibrary.shermangrinberg.com.

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The Sherman Grinberg Film Library, which first opened in the 1950’s by the early stock footage pioneer, Sherman Grinberg, has more than 20 million feet of classic 35mm B&W film from 1895 to 1957. The newsreel collections include the historic Paramount newsreel, which were initially called Eyes of the World (silent era) and later the Eyes and Ears of the World (the “talkies”). The collection also includes the American Pathé newsreel library, which is America’s oldest newsreel collection (1895-1956). The library also has the Industry on Parade series of early manufacturing films, the Allied Artist Scenic stock footage collection, and over 3,500 mid-20th century television and movie theater commercials.

The newsreels contain an amazing variety of world-changing events and topics including movie premieres, Academy Awards, celebrities; sports including the Olympics, college, and professional games; world leaders and politics; the Great Wars (WWI, WW2 and more); science, technology, and medicine; natural disasters and civil unrest; fashion, culture, crimes, and human interest, to name just a few subjects.

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At this point approximately 40% of the newsreels have been restored and digitized which are available to watch on their website, but if you can’t find newsreel footage for your project, contact the library, or send them keywords, and they will create a custom finding aid for your review.

After you review the finding aid, let the Grinberg staff know what footage you are interested in, and they will search for the footage in their vaults. If the footage is available, they will restore and digitize the footage and send you digital screeners for no cost.

If you want to license the footage for your production, or project, the library offers competitive rates, and aims to stay within your budget by selling footage by the second instead of clips. Much of the newsreel footage has rarely, and in many cases, never been publicly viewed since the footage was put into storage during the late 1950’s. The Sherman Grinberg Film Library can be thought of as a lost film collection of international importance that contains an unexplored trove of never-before-seen historic newsreels.

To contact the Sherman Grinberg Film Library, email: Sales@shermangrinberg.com; or call 818-717-9200.

Article by: Lily Turner-Graham and Lance Watsky

CNN Collection Adds Over 950,000 Screening Clips to Footage.net

Footage.net announced today the addition of more than 950,000 clips from the most iconic news events in the world to its growing footage database, courtesy of CNN’s content licensing powerhouse, CNN Collection.

CNN Collection houses CNN’s complete archive of news and historical footage, with coverage spanning from the 1980s through today. After 30 years in business, CNN Collection offers more than four million assets, a large portion of which has been digitized and is available in High Definition (HD), with the remaining library available in archival quality via digital delivery.

“The addition of CNN Collection’s clips to our platform is great news for Footage.net users,” said David Seevers, Footage.net Chief Marketing Officer. “News and historical footage are our top categories, and the researchers, filmmakers and agency producers who use our site on a daily basis will be thrilled to have access to CNN’s world-renowned footage archive.”

Footage.net works with a wide variety of footage licensing companies to enhance their visibility across the global production community. CNN Collection clips will be updated daily on Footage.net and available for screening alongside motion content from other leading footage companies.

To learn more or to license footage, contact CNN Collection’s licensing experts at licensing@cnn.com or call (866) 462-4350.

Revisit the Origins of Punk Rock at Global ImageWorks

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Loud, dark, and dangerous - Punk Rock burst onto the music scene with an aggressive sound and an in your face attitude. The two-minute anthem reigned supreme. Mohawks, piercings, ripped jeans, and black leather jackets were everywhere. 

Global ImageWorks’ collection of mid-1970s punk footage and photos is a must see for anyone documenting these times.

Shot at the legendary CBGB and other landmark New York City venues, GIW’s archive covers the early days of the Punk Rock movement and features footage of the Ramones, Talking Heads, Blondie, Richard Hell, Wayne County, and many others. Click here to check out footage from the GIW archive.

GIWPhoto’s collection takes you to the Round House in London and drops you on NYC’s Lower East Side. Click here to sample some GIWPhoto images.

Screenocean Now Representing Greenpark Films, a Unique and Extensive Collection of British Social History Documentaries

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Screenocean have announced their representation of Greenpark Films,  a unique and extensive collection of  documentaries covering British Social History throughout the 1940s to the 1970s.

Family, life in the home, domestic appliances, leisure, shopping and consumer activities are all covered along with quirky industrial, agricultural and healthcare films mostly in full color and unusually high quality, giving a real sense of life as it was lived in pre-1980s Britain. This rich and varied archive includes films documenting the development of the Gulf states from 1950s and a fabulous collection of full colour commercials. All films have high production values and most are film backed.

“We are delighted to be representing such a vibrant and beautifully shot archive,” said Duncan Roxburgh of Screenocean. “It is great to be working with the collection again and look forward to rediscovering its hidden gems.”

For further details contact us at info@screenocean.com.

New Preview Clips from The University of North Texas, Custodian of the Complete News Archive of NBC 5/KXAS, are Now Available for Screening on Footage.net.

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Over 50,000 preview clips from the University of North Texas’s archive of local news are now available for viewing through Footage.net. UNT Libraries houses the complete news archive of NBC 5/KXAS (formerly WBAP), the oldest television news station in Texas. The archive contains historic broadcast footage, scripts, advertisements, still photography and research files dating from 1950 through 2012.  Currently, 51,393 clips from the NBC 5/KXAS archive are available for screening on Footage.net, with more expected soon.

“We’re delighted to be making the NBC 5/KXAS collection searchable through Footage.net,” said Morgan Gieringer, Head of Special Collections at the University of North Texas.  "We’re working hard to expand access to the archive and generate additional licensing revenue that can be reinvested into further digitization of the collection. Making the archive accessible through Footage.net will help us achieve both priorities.”

In 2014, UNT Libraries and NBC 5/KXAS formed an innovative custodial partnership, wherein UNT would take physical possession of the archive and manage its digitization, preservation, public access and licensing, and NBC 5/KXAS would maintain ownership of the intellectual property and help publicize the project.

“This is a unique relationship for us as we have not previously worked with a university archive,” said David Seevers, Footage.net Chief Marketing Officer. “UNT and NBC 5/KXAS have come up with a very innovative approach to the stewardship and preservation of this rich collection of local news, and we want to help support and promote their efforts as much as possible.”

Since launching the project in 2015, over 20,000 original broadcast news segments, and over 45,000 news scripts have been digitized and made available online for viewing by the public through the Portal to Texas History. All content stored on U-Matic (3/4 inch) was digitized first due to the instability of the media, and UNT is now working to complete years in which three or more months have been digitized, as well as the oldest content in the archive. Approximately 1/6 of the total collection has been digitized to date, and the goal is to digitize the complete archive—every single tape and film reel.

“We are happy to help researchers find content that has not been digitized,” said Gieringer. “If someone is looking for content that was likely on the news in Dallas/Fort Worth, we can help them find it.  We also have a large backlog of content that has been digitized but is awaiting metadata. So just because a clip is not in the database does not mean that a digitization fee is required in all cases.”

Although the NBC 5/KXAS Collection is a “local news” archive, the content spans much further than the Dallas/Fort Worth metro area.

“Reporters were active across the state of Texas, and even participated in national events like presidential elections,” said Gieringer. “We are constantly surprised by the exciting footage uncovered in this collection, including a candid interview with Harvey Milk in 1978, a press conference with Muhammad Ali in 1969, sit-in protests at the Piccadilly Lunch Counter in 1964, and celebrity interviews ranging from Joan Crawford to John Belushi.”

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

About UNT Libraries - NBC 5/KXAS

In 2014, UNT and local television station NBC 5/KXAS-TV (formerly WBAP-TV) entered into an agreement to permanently house over 50 years of historical television news footage along with accompanying broadcast scripts, photographs, reference files, and log books, in the Special Collections department of UNT Libraries. The most important concern for both UNT and NBC 5/KXAS-TV was that the collection be preserved and made publicly accessible through large-scale digitization. Since the project launch in 2015 significant progress has been made to digitize and make the news archive accessible. U-Matic tape was prioritized for digitization and over 2,000 tapes were digitized and segmented into over 50,000 individual news segments.

A Conversation with Wyatt Stone, Archival Producer on “Who Killed Malcolm X ?”

Wyatt Stone, Archival Producer (photo by Johnathan Lewis)

Wyatt Stone, Archival Producer (photo by Johnathan Lewis)

Who Killed Malcolm X?, follows activist Abdur-Rahman Muhammad as he conducts his own investigation into the controversies and unanswered questions surrounding the assassination of civil rights leader Malcolm X. The six-part series, directed by Rachel Dretzin and Phil Bertelsen, pursues the widely held theory that the original investigation was botched, resulting in the wrongful conviction of two innocent men, and that the central figure in the assassination, William Bradley, was never prosecuted and continued living in plain site until his death in 2018. “I’m not going to stop until I get justice,” Muhammad says at the outset of the series. “Because the official account of who killed Malcolm X, it’s not true.” The series, which is streaming now on Netflix, includes a trove of rare and riveting archival footage. We spoke with Wyatt Stone, archival producer on the series, about his work on the project.

Footage.net: How did you get involved in archival research?

Wyatt Stone: I’ve been working within documentary films for the last eight years, focusing on archival research and clearances.  I graduated UCLA with a degree in ethnomusicology in 2011 and pursued music throughout my life before that, performing both as a solo artist and with others like Rickie Lee Jones.  I was introduced to documentary films in college by a professor and filmmaker named David Leaf who helped me get my foot in the door on my first project, “Crossfire Hurricane.”

FN: What a great project to cut your teeth on!

Yeah, working on "Crossfire Hurricane" was a real baptism by fire!  I was able to learn skills under two of the best archival minds I've ever come across: Jim McDonnell and Jessica Berman-Bogdan, and they brought me up from LA to NYC to work on the PBS series that eventually became Soundbreaking.  Jim and Jessica remain close friends and colleagues of mine to this day, and without them I wouldn't be where I am at the moment, no doubt about that!  At the end of the day, this job is really only as good as your skills not only as a researcher, but how well you connect with people who are making that research and materials available to you and those who work around you.  Jim and Jessica really taught me that early on and I've kept that with me throughout my career so far.

FN: With six episodes in the series, “Who Killed Malcolm X?” must have been an enormous archival undertaking. Was this one of the more complex projects you've worked on?

WS: It was definitely a complex project but it wasn’t necessarily because of the size of it.  We were a very small team that worked on this for a very long time.  I liken the experience of it to almost like having fought battles together and we are now veteran buddies.  The whole project could not have succeeded without supporting each and every aspect of the production and sticking together.

FN: Were you involved in the project from the outset?

WS: I was brought in very early on in the production, which was a blessing as I had a handle on what material was out there, even though that process continued throughout the project.  We had some serious budgetary restraints, but I believe we overcame them and did justice to Malcolm, showcasing some material that has been very rarely used or seen.

FN: What’s the biggest difference between the role of archive producer and archive researcher?

WS: I believe the biggest difference is the way in which the archive producer handles the budget and clearances.  As an archival researcher, you’re typically not responsible for clearances in that same way, but I have done both with both titles. Typically, that is not the case though.

FN: Were you in charge of managing the archive budget on this project?

WS: With this project I was and it was a challenge indeed, as I mentioned before. The relationships I’ve built over the years with the archives certainly helps with negotiations, but because documentaries have become so much more mainstream than they were before, the archival sources have increased their prices, so I’d hope that production companies when they are making these budgets keep that in mind, or even better bring on someone who knows the archival landscape to consult!

FN: How do you prepare for a project like this?

WS: My process varies per project, but typically I watch everything that has been done on the subject matter and refer to any of the books, sources and acknowledgements to dive into what collections might be most helpful. I also enjoy the tight knit nature of the archival world, so I often times know who worked on the previous projects and can pick their brain and vice versa.

FN: So word of mouth leads and networking are still critical elements of the archival research process?

WS: Yes, I believe word of mouth is still a huge resource, even if the word of mouth happens online.  I’m a member of several groups of archival researchers around the World and those resources are helpful beyond measure.

FN: Was this a project where the producers really wanted to go in-depth and seek out every bit of relevant material?

WS: There was a lot of pressure to find every bit of footage of Malcolm for this project, as we were basically tracing the daily movements of his last few years.  The unique thing about Malcolm, unlike someone like Dr. King, was that even though he was very interesting to the press, the fact that he was killed in 1965 meant that you really miss a big chunk of the explosion of media coverage that was saved say in the mid to late 60s, so you have to turn every stone over to see where he might have been filmed.  It took a diligence that was beyond really any other project and I’d say that even the most rare, surprising things I found ended up not in the show!

FN: Were you dealing mostly with large commercial footage providers or were smaller sources like individuals and collectors part of the mix?

WS: This project was a mixture of news sources as well as discovering small collections.  That typically is a part of my process: you start with a large net and cast it out, and you capture what you can, and then once you start getting more granular you have to explore smaller sources to tell your story.

FN: Was there a big "eureka" moment on this project where you found a really special shot?

WS: There were several!  There was an interview with one of our subjects on William Buckley’s “Firing Line” that had never been seen and we used that.  There was also a piece that WNET had done on the Nation of Islam that was thought to be lost, but we tracked it down in Indiana Universities’ archive. We were able to transfer it to 2K and it was some stunning footage that really captured what it was like to be a member of the Nation of Islam in 1964.

FN: Did these archival discoveries influence the film's narrative?

WS: Since I started quite a bit before the edit, archival was intertwined throughout the film’s narrative, which as an archival nut was a real treat!  It’s hard to separate the two within the series and that’s something I’m very proud of.

FN: How big a factor is YouTube in a research project like this?

WS: I think that YouTube is a great research resource, though it does cause problems if things are brought in from YouTube without a warning that we may not be able to find where it came from.  One of the things that it helped with for this particular project, was it led me to start exploring the Gil Noble archives, and we were able to find some of the masters within their archive that we had originally found on YouTube.

FN: How do you keep everything organized on a project of this scope?

WS: Each project is different but for this one particularly, it started with that first dive into the subject matter and trying to explore collections that I think would help.  Then once the material was gathered, for this project we used FileMaker and had a particular naming convention for materials.  At the end of the process, I think we actually logged about 10,000 assets of clips and photos, and that doesn’t include the enormous amount of FBI documents, NYPD documents, and ephemera as well.

FN: What is the biggest challenge in this sort of filmmaking?

WS: I think it goes back to starting early enough in the process so that you have a handle on your budget and also have the ability to shape the narrative. So many times you are asked to find material that simply doesn’t exist and if you start working alongside the producer beforehand, you can avoid feeling like you are failing and instead support a films direction that is realistic and creative at the same time.

FN: What's next for you?

WS: I have some great projects on the horizon that should come to the surface soon that I'm really excited to share when the time is right...but beyond that, I’m hoping to continue to work on meaningful projects like this one that makes change in the world. I’m grateful to have been a part of this and thank everyone at Ark Media who believed in me and helped shape this wonderful project that I hope finally brings justice to Malcolm’s untimely death.