1. Michael Kantor of American Masters Delivers Keynote Speech at ACSIL FOOTAGE EXPO 2015The first ACSIL FOOTAGE EXPO was held on April 29 at NY's Midtown Loft & Terrace. Nearly 300 media professionals attended the event, which was kicked off by Michael Kantor, Executive Producer of PBS's American Masters. The theme of Mr. Kantor's keynote was the "Eureka Moment," when producers discover footage that can change the direction of a story. More information on ACSIL FOOTAGE EXPO 2015 can be found at http://acsil.org/events/expo2015

    # vimeo.com/129938067 Uploaded 46 Plays 0 Comments
  2. Who Controls All of This Footage and Why Do They Charge What They Charge? This video is the record of the opening panel at the ACSIL FOOTAGE EXPO 2015, held on April 29 at NY's Midtown Loft and Terrace. Nearly 100 of the 300 attendees were in the audience to learn from a wide variety of footage experts. Moderated by Jessica Berman-Bogan of Global Images Works, an award-winning footage researcher who also owns an important footage licensing company, the speakers included three footage licensors: WGBH, Getty Images, and Catch & Release (which also provides research services); award-winning researcher Lewanne Jones who has supervised research services on archive rich programs for American Experience, Frontline, and Florentine Films; the owner of the federated search aggregator Footage.net, Dominick Propati; and Dan Streible, an Associate Professor of Cinema Studies at NYU and the Director of the Orphan Film Symposium, which features footage and programming that is difficult to access and license.

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  3. What Are the Legal Challenges to Footage Use?
    It ties many producers and their distributors in knots: what kind of risk is inherent in building media out of footage sources and archives? While footage-based programs have circulated around the globe for decades, and while footage is freely uploaded to video sites on the web, there is a persistent anxiety that a single infringing use will drive a company to ruin. Will it? Can it be insured? Is fair use a legitimate right? Are underlying rights of music and trademarks and talent and privacy a concern for all programming, or are news and documentary programs exempt somehow? What about educational use?
    This panel is composed of the most engaged legal minds in the complex world of intellectual properties, including Jay Fialkov, the Deputy General Counsel at WGBH; Anne Atkinson, and Entertainment Attorney at Pryor Cashman and former General Counsel for A&E; Jack Lerner, Director of the Intellectual Property Arts & Technology Clinic at UC/Irvine, Bob Stein, of counsel at Pryor Cashman and a specialist in insurance coverage for archival films; and Cathy Carapella, a veteran specialist in music and other difficult rights and clearance challenges.

    # vimeo.com/129143727 Uploaded 108 Plays 0 Comments
  4. The Challenge of Mapping Random Video Footage to Rights Holders
    As video populates the global media ecosystem, the owners of stray video clips and programs often get lost, creating a new tension between those who authored and own the footage and those who distribute the footage under safe harbor protections. While there are takedown provisions and other protocols to help owners protect their materials, there is often no way for anyone to actually know where the material originated or who owns it. Indeed, one of the big frustrations for both licensors of footage and licensees of footage is the inability to track down a valid license for a video clip sourced on the web. Some content owners appreciate the leads they generate from YouTube uploads; others believe the entire business model of such sites is predicated on copyright infringement.
    This panel brings a wide variety of voices to the discussion: multi-channel networks from The Orchard, footage researchers with extensive experience matching up clips and archives; and footage sources WNET and Reelin' in the Years Productions, both with attractive footage for user-generated uploads. Is there a way to better identify the owners of materials uploaded at random to the web? Are there protections for producers who can’t find the owner of a particular shot? This is probably the most contentious issue facing archives and researchers these days. Is there common ground? We'll see.

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  5. Valuing Footage in the Digital Era
    Always the dominant media in popular entertainment, video is now emerging as the preferred media in our digital communications and educational activities as well. With all these new media and distribution channels, the footage business seems poised to fuel the coming boomtown of “video everywhere.” At the same time, mountains of new footage are being generated by ubiquitous new sources and the status quo is being challenged as never before. Will future creators value footage in a way that justifies existing price structures or will prices fall in response to this new demand? Is some footage inherently more valuable than others? And how will bulk distribution of footage to customers through subscriptions or ad-supported models affect the valuation of footage long-term?
    This panel explored the footage dynamics five years out, analyzing the potential “value” of footage from multiple perspectives: buyers, sellers, and investors. Today’s experimental business and distribution models will be our window into the great beyond as footage expands exponentially and is used in new and unusual ways.

    # vimeo.com/129231731 Uploaded 42 Plays 0 Comments

ACSIL FOOTAGE EXPO 2015 Panel Sessions

ACSIL Footage Trade Association

Complete videos of information sessions from the ACSIL FOOTAGE EXPO 2015 on April 29, 2015. Held at NY's Midtown Loft & Terrace, the event attracted nearly 300 media professionals involved in the research and licensing of stock and archival footage.…

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Complete videos of information sessions from the ACSIL FOOTAGE EXPO 2015 on April 29, 2015. Held at NY's Midtown Loft & Terrace, the event attracted nearly 300 media professionals involved in the research and licensing of stock and archival footage. Six sessions were arranged, including a keynote from Michael Kantor, the Executive Producer of American Masters.

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