The number one lesson from covid for producers of video, is that retaining the core assets of your video shoots has huge value.
The pandemic almost stopped the production of new video, but the need increased.
Video became a crucial tool for communicating with stakeholders as working patterns changed, people become more isolated and in person events were cancelled.
Existing video which could be repurposed became the lifeblood of corporate video work, and instantly became hugely valuable assets for businesses who had the foresight to have retained them.
For one of our automotive clients, repurposing existing assets from our archives, allowed us to roll out over 40 new videos for several different divisions located around the globe, which enabled the continued and accelerated roll out of ground breaking 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.
Many businesses continue to ignore the long term value of the assets they are paying for.
Failing to procure the appropriate licences and physical assets to enable the money spent on production to be converted into long term assets continues.
Sometimes this is to save money, (We don’t need rushes… we are only going to use this once, and it’s another £400…) sometimes it’s out of a misplaced understanding of a contract, (What do you mean, we can’t reuse the footage??? ) and sometimes it’s down to a supplier not acting in that client’s best interest, especially with naive clients who may not be thinking long term or have a simplistic view around IP and video production.
Turning short term video projects into a long term asset is easy.
In the first instance ensure you have the correct licence to allow you to repurpose and reuse the visual assets of the project in any way you want.
You need to obtain an unlimited licence, or full copyright, at the very start of production.
This may cost more up front, but it means you benefit in the long term through the ability to increase the amount of content you produce, and the retention of this material as a core IP asset for the business.
Copyright needs to be clear from moment one, as revisiting this after a project commences may lead to project failure, a substantial increase in costs, or the souring of a good relationship.
Secondly, ensure that you receive the visual assets in a format you can use going forward.
This should ideally be an organised rushes package.
You do not want the “original footage”. That’s just a dump of all the material from the camera, unnamed, in an unknown codec, probably in a LOG format, and without any level of organisation.
At Page One we organise our footage for rushes according to the date, and the camera, and the subject, then output this in a format your can use, properly organised and labelled, delivered online or via HD.