The number one lesson from covid for video producers, is that retaining the core assets of your shoots has huge value.
COVID almost stopped production of new video, but the need increased.
Video became crucial for communicating with stakeholders as working patterns changed, and in person events were cancelled.
As a result, video which could be repurposed became the lifeblood of corporate video, and invaluable assets for those who had the foresight to have retained them.
For one of our automotive clients, repurposing existing assets allowed us to produce nearly 40 new videos for different divisions around the globe, which enabled the continued roll out of new programs across the business.
Clients who embraced an agile approach to video, who had retained their video assets with clear licensing, were able to increase their video output even with reduced teams and working from home.
Businesses continue to ignore the long term value of assets they are paying for.
Failing to procure the right licences and physical content to enable video shoots to be converted into long term assets continues.
Sometimes this is to save money, sometimes out of a misplaced understanding of a contract, and sometimes it’s a supplier not acting in the client’s best interest, especially with naive clients who may not be thinking long term or have a simplistic view of IP.
Turning short term video projects into a long term asset is easy.
First, ensure you have the correct licence to allow you to repurpose the visual assets of the project.
So, obtain an unlimited licence or full copyright, at the very start of production.
Copyright needs to be clear from moment one, revisiting this after a project starts may lead to project failure, a substantial increase in costs, or the souring of a good relationship.
This may cost more, but you benefit through the ability to increase the amount of content you produce, and the retention of this material as core IP by the business.
Second, obtain the visual assets in a format you can use.
This should ideally be an organised rushes package.
You don’t want “original footage”.
That’s a dump of all the material from the camera, unnamed, in an unknown codec and format, and without any proper organisation.
Page One organises footage for rushes according to date, camera, and subject, then output in a format/codec you can use, organised and labelled, delivered online or via HD.