2016 Archive

Robert Gitt

Archival highlights

In a career spanning more than 50 years, Gitt is recognised as one of the world's foremost experts and practitioners of film preservation and restoration. In 1977, he became the first preservation officer of the UCLA Film & Television Archive, where he built up and taught a team of skilled colleagues and restored hundreds of classic Hollywood films, both silent and sound, to the highest standards of the art, earning the constant praise and admiration of peers and film-makers alike. (For a full selective list, see CV.) Highlights of his work have included the revival of director's cuts (e.g., Howard Hawks's 'The Big Sleep', 1945; Orson Welles's 'Macbeth', 1948), along with the frequent recovery of missing scenes and censor cuts. Most notable, perhaps, is his discovery, compilation and acclaimed presentation of the exhaustive rehearsal outtakes of Charles Laughton's 'The Night of the Hunter'. Although now officially retired from the UCLA Archive, Gitt continues to act as adviser and mentor to its technical staff. Gitt has, almost single-handedly, put back into circulation and on to the big screen numerous American film classics and neglected masterpieces, silent and sound, to the visual standards achieved by their original creators. He has, in particular, raised the art and technique of colour film restoration, in titles ranging from the first two-colour Technicolor features (e.g., 'The Toll of the Sea', 1922) and the first three-colour Technicolor subject ('Becky Sharp', 1935), to, most recently, one of the finest Technicolor films of all time, Michael Powell and Emeric Pressburger's 'The Red Shoes', in collaboration with Martin Scorsese and the BFI and ITV. Gitt has also pioneered the recovery and restoration of early sound, often from wax discs, most notably in the case of Warner Brothers' Vitaphone shorts of 1926-1931. Currently, he is constructing on DVD and BluRay an epic audio-visual history of sound-on-film, the most recent results of which (1933-1975) were launched in 2015. He is well-known for his extensive, entertaining and authoritative presentations and lectures on this and many other film history and restoration topics.

Historic Films Archive

Country of Production:

USA

Archival highlights

Historic Films Archive is a small but industrious stock footage archive located on the eastern end of Long Island New York. In business since 1991, our staff has provided hundreds of thousands of clips to award winning documentaries, television programs, commercials and feature films. Our world recognized library of musical performance and entertainment footage spans a century and contains over 50,000 individual performances from televisions most important networks and programs. Our collection of stock footage spans the years 1895 to 2015 and consists of over 35,000 hours of news, lifestyles, travel, fads, fashion, home movies, celebrity "red carpet" events, vintage TV programs, commercials, interviews, silent films, training films, military films, industrials and cartoons. In 2009, after two years of research and development and during one of our countries worst financial down-turns, Historic Films recruited an outstanding team of web developers who would subsequently spend the next two years working with us to custom design a web-based platform to serve our client's stock footage needs. Unlike many of our competitors, who offer their online footage as short pre-determined clips, Historic Films Archive presents its clients with the option to access and view an entire document/film while giving them the ability to select the precise shot they want. Our primary goal is to provide our clients with an exceptionally streamlined and efficient online experience as well as providing our research staff with the right tools to do their jobs well. Historic Films strength has always been in our dedicated multi-tasked staff that do in fact still answer the phone when you call and in many cases have been with the company since its early inception. Our strengths lie within the institutional knowledge that our staff have of our material and our rapid access to it. In 2011, after two years of development, Historic Films launched what has become one of the industry's leading online websites for stock footage research and sales. It is not an exaggeration to state that our online presence competes handily with publicly traded stock footage companies with resources far greater than our own. The same team of developers that we recruited back in 2009 is still with us as we have continued to evolve, re-assess and re-develop the research and sales tools we provide to our clients and our staff. In 2014, three years after our initial launch, we began to see an obvious trend. Our clients were no longer tied to their desktops for research and had become en masse mobile. The greatest increase in traffic coming to our website was now from iPads, iPhones and Android devices yet this sector was not being served as our video playback (much like our competitors), was not compatible on these devices. We took our queue and in 2015 Historic Films re-tooled and re-launched our website to allow for tablet and smart phone device compliancy. Historic Films now allows users of iPhones, iPads and Android devices to stream footage and make selects while accessing all of the same great features that our desktop users have always enjoyed. We are now fully searchable anywhere at any time on any device. No "App" required. As of 2015 Historic Films Archive remains the only stock footage archive that provides this service to the stock footage industry. We are very proud of the success our company has had in developing online tools to serve a far greater number of stock footage researchers in more places at more times. We are also proud of the infrastructure advancements that we have made ensuring that Historic Films not only remains a top competitor in its field but also maintains its post as a responsible fiduciary for the historical content within our vaults. For these reasons, we believe that Historic Films Archive deserves to be nominated for the 2015 FOCAL International Stock Footage Archive of the year. Joe Lauro President, Historic Films Archive, LLC

Tim Emblem-English

Production Company:

BBC Studios and Post Production

Country of Production:

UK

Archival highlights

NOMINATED by EMMA HAW Who would have forecast in 1981, when Tim Emblem-English made the move from the Meteorological office to the BBC's Television Recording department, he would become one of the UK's finest Archive and Restoration Specialist? Since 1981, Tim has forged a career in archive restoration, sharing his expertise and bringing his measured approach to some of the most important archive restoration projects and film and television productions across the globe. Tim's skill and aptitude, his professionalism and talent are backed up by an understanding that can only come from someone who has embraced and enthused about the vast developments in film and television formats over the past thirty years. Tim has always specialised in film-based work: from grading live film transmissions (as the BBC last ever tele-recording engineer) to his exemplary skills in telecine. He is adept in the handling of both familiar and the less used film formats such at 9.5mm. Despite working with material from the past, Tim welcomes the opportunities modern technology can bring to unlock and restore footage that that would otherwise remain hidden - from the collections of medical and historical institutions to international broadcaster as well as the treasured reels in private collections. He is generous in sharing his knowledge and experience with his colleagues and eager future technicians and in this way, Tim helps to safeguards footage heritage for future generations to enjoy. Tim has worked to bring archive to the viewer in landmark television series such as the BBC's highly acclaimed 'All Our Working Lives' in the 1980s, film releases such as 2012's London: The Modern Babylon, whilst also ensuring regional, national and international archive collections of importance such those held by the Scottish Screen Archive, the Royal College of Surgeons and international collections from The Hong Kong Film Archive and The Monaco Audiovisual Archives are preserved for the future. It is testament to Tim that he is known by the amateur film maker, the archives and the programme maker and he is always booked months in advance for projects , making it an extra special treat to step into the telecine world of Tim Emblem-English.

ENDORSED by MIRIAM WALSH In my years as an archive researcher I have been fortunate to travel far and wide in pursuit of great archive footage. Sometimes when found it does not look that great! But a trip to the telecine world of Tim Emblem-English can rectify that in no time at all. Tim is an amazing telecine operator and no job is too little or too great for him. He is a magician and breathes life into even the most fatigued piece of film. His skill and aptitude is backed up by an understanding that only comes from some-one who has embraced and enthused about the vast developments in film and television formats over the past thirty years. I have spent many happy hours with Tim unlocking the delights of old and forgotten treasure for many of the films I have worked on. He telecined all the BBC footage for us on "London - the Modern Babylon" and "David Bowie - Five Years" and numerous other series over the years . He has never been less than totally professional and utterly charming. His dedication to his work, an incredibly important work in our industry is utterly amazing and he would be a worthy recipient of The Focal International Footage Employee of the Year Award.

Jessica Berman-Bogdan (Global ImageWorks)

Involved Partners:

Cobain: Montage of Heck; Narcos, End of Movie LLC; Narcos LLC

Archival highlights

Credit 1 - Title of Production: Cobain: Montage of Heck

Credit 1 - Production Company: End of Movie, LLC.

Credit 1 - Broadcast / Media Platform: All media

Credit 1 - Brief Synopsis: Kurt Cobain, lead singer, guitarist, and songwriter of Nirvana, remains an icon 20 years after his death. KURT COBAIN: MONTAGE OF HECK is a raw and visceral journey through Cobain's life and career with Nirvana through the lens of his home movies, recordings, artwork, photography, and journals.

Credit 1 - Reason for submission: KURT COBAIN: MONTAGE OF HECK is a feature length documentary film almost entirely created from the use of archive material. Jessica's research expertise and skills to bring in and then manage the vast amount of audio visual elements required for this project helped the success of the film.

Credit 1 - Researcher's Statement: Cobain: Montage of Heck was a fully sanctioned project. We had the full support of the Cobain estate and support of Nirvana's record company. As Archival Producer, I worked on the film for two years. I was the first person hired and I was still there to help close down the project. Over the past 15 years, the Director, Brett Morgen, and I have worked on many films together. Because Brett understands the unique challenges of archival-based filmmaking, he starts the archival research process in pre-production. My first assignment is always to source enough footage and other elements so by the time the production team is in place, there is plenty of material to screen and key story points are represented. I worked closely with Nirvana's record company to access to outtakes and unseen footage. I successfully arranged access to MTV and Rolling Stone Magazine's deep storage archives which contained even more unique and rarely seen materials. We knew the film would have access to the Cobain estate archives. The challenge here was the lack of a detailed inventory. We had no idea what we would find once we entered that archive. We literally catalogued thousands of items including; Kurt's journals, various artwork, a box of over 200 audio tapes and general ephemera. All of this material needed to be photographed and logged into the film's asset management system. The Cobain archive produced a treasure trove of material and had a profound impact on Brett. It provided both great inspiration and a wealth of production materials. There is a good deal of Nirvana footage on YouTube. My job was to not only get every frame of what we saw online but to develop strategic relationships that would ultimately uncover outtakes and even more footage that had not been seen or previously been available. I made contact with over 100 private individuals who had either personally produced and/or collected Nirvana footage. Most of the private individuals were not only protective of their materials; they were curiously very protective of Kurt Cobain himself. Most collectors I encountered were very hesitant to let anything out. One of the main challenges I faced was to gain the trust of these individuals. I contacted a few dozen photographers in both the US and Europe. We obtained their contact sheets so that we could assemble the greatest amount of photos to choose from. I reached out to commercial archives and broadcasters around the world. Nirvana in their few short years of existence was known in almost every country worldwide. I tracked down numerous reporters who, in the late 1980s or early 1990s, had interviewed Nirvana and/or Kurt for magazine articles to see if they retained the audio from these interviews. I convinced them to search their attic, basements and garages and then arranged to have whatever they found digitally transferred. This was challenging to say the least, but also extremely rewarding. Part of my Archival Producer responsibilities was to oversee and organize the thousands of assets, across all sources that were being brought in and to create the internal workflow that would ingest and manage all of the audio visual elements. I created seven (7) separate databases which were hosted online and therefore accessible in real time from any location. It was an especially challenging but necessary step since several key personnel were not all in one location - the production office was based in Los Angeles, I was on the east coast, and one of the key producer's was in Colorado. The final locked edit contained close to 3,000 individual elements in a variety of film and tape formats. In the end, we licensed material from over 100 different copyright holders. I was responsible for negotiating each licensing deal, securing every agreement and traficking all the paperwork through to full execution and paid status. During this process I interfaced with the legal team to make sure each agreement met their approval. Once the licensing deals were in place I was responsible for ordering master quality elements for every audio visual asset in the film. I was also tasked with making sure we stayed within budget and that everything was brought in on time. My last responsibility on the film was to create the production bibles - which on a film such as Cobain: Montage of Heck, is a small archive in and of itself.

Credit 1 - Director/Producer or Production Manager's Statement: Jessica Berman-Bogdan was the first hire on COBAIN: MONTAGE OF HECK, and one of the last to assist in closing down the production. In addition to being an acclaimed commercial director, Brett Morgen has been dubbed the "Mad scientist" of documentary filmmaking by the New York Times and has been directing, writing and producing groundbreaking documentary films for the past 15 years. He and Jessica first collaborated on THE KID STAYS IN THE PICTURE and have worked together on every film since. Brett has said that he "thinks of Jessica more like a cross between a cinematographer and a producer. I would never even think of doing an archival film if she wasn't available. She and her team can locate and find just about everything that we've asked for and beyond that, can negotiate the terms of the deals. When working on archival projects, you come across quite a few people who don't understand film and are weary of sending out materials which could represent their life's work. Jessica puts people at ease. They trust her, and for good reason. She treats archival materials with the greatest care." Jessica's work gathering archival material was instrumental to the shaping of the film. COBAIN: MONTAGE OF HECK was assembled almost entirely through the use of archival material, a huge proportion of which was found and obtained by Jessica; the process of making the film was one of reviewing the extant footage and understanding the story that it was telling, a process that would have been impossible without Jessica's efforts. She was able to locate and successfully bring in what we believe was close to all existing footage and audio of Kurt Cobain and Nirvana, obtaining the cooperation of many private individuals who had personal footage they either shot or controlled. She created and oversaw an asset management system which kept track of hundreds of hours of footage and audio from more than 100 sources, 7000 photos, and over 5000 items of assorted ephemera, ranging from personal items, to artwork, to journals. It was a herculean effort to track it all and then to oversee the ordering of masters and negotiation of licenses. It is a further testament to her skills that this was all managed remotely between Jessica's office in New Jersey and our production office in Los Angeles. We communicated on a daily basis throughout the production. Jessica was able to make magic happen continually throughout the production because of her vast experience and her deep relationships in the archive world. Her expertise and experience in rights and clearances were instrumental throughout and she worked closely with our legal team to get all the agreements to final execution in a timely and efficient manner. She pursued every lead to its conclusion and exercised great care in establishing the chain of title for each piece of material used and ensuring that due diligence was taken to find and obtain licenses from all applicable copyright holders. In sum, Jessica's labor, expertise, and judgment were of paramount importance in enabling us to create the best film possible. (Danielle Renfrew Behrens, Producer)

Credit 2 - Title of Production: Narcos

Credit 2 - Production Company: Narcos LLC.

Credit 2 - Broadcast / Media Platform: All media excluding theatrical

Credit 2 - Brief Synopsis: NARCOS Season 1 was a 10 part scripted series produced by Gaumont Television for Netflix. Written by Chris Brancato and directed by José Padilha, Narcos is the true-life story of the growth and spread of cocaine drug cartels in Colombia and attendant efforts by U.S. DEA agents to meet the cartels head on in brutal, bloody conflict. Narcos centers on notorious Colombian cocaine kingpin Pablo Escobar (Moura), and the two DEA agents Javier Peña (Pascal) and Steve Murphy (Holbrook) sent to Colombia to capture and ultimately kill him. Produced by Gaumont and executive produced by Padilha and Eric Newman, Narcos premiered on Netflix in 2015.

Credit 2 - Reason for submission: Narcos Season 1 was heavily dependent on stock archival footage. Although scripted, the story is based on true events and needed to look and feel authentic. The use of footage throughout the series certainly helped to define the look and feel of the production and was an integral part of the storyline.

Credit 2 - Researcher's Statement I was hired early in in pre-production while the scripts were still being written and before actual shooting began. Initial footage was to assist the writers in story development for fact checking and to write the stock footage sequences into the scripts. The footage was also utilized by the director and set designers (and I believe by some of the actors) to facilitate seamless integration of stock with originally shot material. From the beginning, the show was conceived to be a mix of archival footage and newly shot scripted material. Season 1 covered the buildup of Pablo Escobar and the drug cartels and ended with Pablo's imprisonment in 1991. I brought in almost every frame of available screeners from various archives in US and Europe that related to Pablo Escobar covering the mid 1980s through 1991. However, more challenging, was to obtain access to the Colombian broadcast archives and other footage sources within Colombia. To this end, I brought on a colleague who was fully bilingual and could engage with the Colombian archives. Additionally we had to navigate a complicated payment structure within Colombia before we could get screening materials. It took a good few months to establish a work flow and relationship, but in the end, we were successfully receiving footage out of Colombia on a regular basis. It was also my responsibility to set up a workflow and asset management system for all the footage and to insure proper procedures were followed to enable all the different departments (writers, editors etc.) to be able to access the footage. The production team was in various locations " the writers and editors were in Los Angeles, the director and the actors were shooting in Colombia and Brazil, and I was on the east coast. There were a variety of web connectivity issues and mostly for technical reasons, it was decided we would use google docs to manage the archival. Although it was not my first choice, we worked out a tracking system that proved very effective and easily workable for the variety of entities who needed to make use of it. I was on the project for close to one year - from early pre-production, through the production shooting and post production stages. The series ended up licensing footage from about 20 copyright holders. In addition to overseeing and managing all audio visual elements, I was responsible for negotiating the agreements, interfacing with the legal team for approval of all agreements and trafficking everything through to full execution and payment. Once the deals were all in place, my team was responsible for ordering all the master elements and bringing everything in on time and on budget.

Credit 2 - Director/Producer or Production Manager's Statement: Narcos Season 1 was heavily dependent on stock archival footage. Although scripted, the story is based on true events and needed to look and feel authentic. I brought Jessica in early in pre-production as the writers needed actuality footage to help develop scripts and for the director to prepare for filming the scripted sequences. Jessica and her team always delivered. Archival footage was used in a variety of ways throughout all ten episodes " from the creation of short mini docs, giving the viewer a first hand view of the true events that documented the rise and ultimate fall of Pablo, to a simple shot or two to set up a story point intercut with the dramatized footage. Jessica's thorough understanding of the subject matter played an integral part to our team. Collecting incredible images relating to the events surround Pablo's 13 year saga from sources around the world was an enormous undertaking. She brought in footage from dozens of commercial libraries throughout the world to meet very specific script requests . One of our main challenges was to get footage from sources inside Colombia and deal with multi-language challenges as well. Jessica organized an incredibly effective team who successfully navigated through the variety of hurdles and roadblocks and to successfully deliver a steady stream of materials throughout the production. I had worked with Jessica several years ago and she was the first person I called for this project with her expertise in managing a large production along with the complicated elements. Her ability to bring the audio visual in on time and on budget was crucial to the success of the project. We are now starting Season 2 and we are continuing to work together. (Tim King, Producer)

The Memory of Justice (1976 Marcel Ophuls)

Director:

Marcel Ophüls

Producer(s):

Hamilton Fish, Ana Carrigan, Max Palevsky

Editor(s):

Inge Behrens, Marion Kraft

Production Company:

Restored by the Academy Film Archive in association with Paramount Pictures and The Film Foundation. Restoration funding provided by The Material World Charitable Foundation, Righteous Persons Foundation, and The Film Foundation

Country of Production:

USA

Involved Partners:

The Film Foundation: Margaret Bodde, Jennifer Ahn, Kristen Merola, Maria Paleologos - Academy Film Archive: Michael Pogorzelski, Heather Linville

Synopsis

Country of Origin of cited work: United Kingdom

First Transmission / Publication Date since restoration: 2015-2-11

Where published (Channel/Website) since restoration: Berlin International Film Festival Programme

Duration (mins): 278 minutes

Brief Synopsis: Marcel Ophüls explores the relationship between individual and collective responsibility in this documentary based on Telford Taylor's book written during the Vietnam War and reflecting on issues raised during his work as Chief Counsel for the Prosecution at the Nuremberg Trials. Ophuls investigates atrocities committed by the Nazis, in light of alleged war crimes committed by the French in Algeria and the Americans in Vietnam. Interviews and archival footage offer insight from both architects and victims of evil. This monumental film raises essential questions about the moral choices made by individuals and governments in wartime.

Reason for submission in English: This culturally and historically significant film has been out of circulation for nearly 40 years and the complexities of restoring a 278-minute documentary, in three languages, containing third party copyrighted clips and music, were vast. Over the course of 10 years working on the project, original elements were discovered, rights were cleared, and the film was fully subtitled as Ophuls originally intended. THE MEMORY OF JUSTICE was restored by the Academy Film Archive in association with Paramount Pictures and The Film Foundation with funding provided by The Material World Charitable Foundation, Righteous Persons Foundation, and The Film Foundation.

Further Information:

1. The element(s) used for restoration, stating gauge and nature and specific problems associated with them e.g. damage, dispersal of elements and complexity of reconstruction: The 35mm CRI representing the 1976 Paramount release was thought to be the best surviving material on the film when the restoration project began. The 16mm original negative rolls were later discovered and ultimately used for the restoration. The conformed 16mm original negative contains both color and B&W stock, consisting of 50 A/B/C/D rolls. Original overlay bands printed on 35mm hi-con stock containing titles and identification markers were also utilized for the restoration.

2. Original and restored aspect ratio and format: The original negative is 16mm (1:33) and the DCP and print of the restoration retains the 1:33 aspect ratio.

3. Time since aimed for version was last available. How does this version differ from previous versions e.g. in completeness and improvement in quality: The documentary was released in 1976 and has been virtually unavailable since. A key difference is that the original release version contained an English-language voiceover track. During the course of the restoration, the original recordings of Ophuls' interviews with French- and German-speaking participants were discovered, and these replaced the voiceover track. New subtitles in English, French, and German were created for the restoration so that participants' and interviewer's own voices can now be heard. The Film Foundation consulted director Marcel Ophuls, who approved of this change and indicated that he had originally intended to use subtitled French and German language tracks.

4. Where the work was carried out for each title, (including labs and facility houses) and broken down where there are multiple titles in an entry: Digital picture restoration: Colorworks in association with Prasad Corporation Digital sound restoration: Chase Audio by Deluxe Translation and Subtitling: SDI Media

5. What methodology was used?: A 2K scan of the 16mm original negative A/B/C/D rolls was done at Colorworks using a Scanity. Prasad completed frame-by-frame cleanup of dirt and scratches. Color correction was completed at Colorworks. Chace Audio by Deluxe restored the soundtrack using the original audio recordings. The film contains archival footage from various sources including newsreels and footage shot during the Nuremburg trials. A more conservative approach towards defect removal was employed in these sections. All contemporary footage received full restoration. Because of the copyrighted footage and music contained in the film, all rights were re-cleared for non-theatrical, festival, and educational screenings.

6. What preservation elements have been generated and where will they be stored?: 35mm 4-track Archival Mag 35mm Optical Track Negative DCDM 35mm DI Negative LTO Data Archive: Restored and Raw Files 35mm English subtitled Print DCP with French, German, and English Subtitles HDCamSR Video Master All items are stored at the Academy Film Archive.

7. How and where has the restoration been presented and made available to the public?: THE MEMORY OF JUSTICE had its world restoration premiere at the Berlin International Film Festival in February, 2015. Since its premiere, screenings include: Toronto International Film Festival (North American Premiere), New York Film Festival (US Premiere), BFI London Film Festival, Il Cinema Ritrovato, Jerusalem Film Festival, and the Philadelphia Film Festival. The German-subtitled DCP was shown at the Austrian Film Museum launching its tour screening in multiple venues throughout Austria. On the occasion of the 70th anniversary of the Nuremberg Trials there were screenings at the Memorial de la Shoah in Paris and the Deutsches Historisches Museum in Berlin.

Amy

Director:

Asif Kapadia

Producer(s):

James Gay-Rees

Footage Archive Researcher:

Paul Bell

Archival Sources:

Universal Music Group, Family & Friends - amateur footage, Getty Images / BBC, Videoplugger, ITN Source

Production Company:

On The Corner

Country of Production:

UK

Synopsis

The story of Amy Winehouse in her own words, featuring unseen archival footage and unheard tracks. With Amy (like our previous film Senna) we have tried to push the use of archive material to the forefront of factual storytelling. We believe this approach to documentary film making is compelling and essential.

The Beatles 1+ Video Collection

Producer(s):

Jonathan Clyde, Martin R Smith

Footage Archive Researcher:

Aaron Bremner, Chris Purkiss

Archival Sources:

Apple Corps Limited, ITN Source, Getty Images/BBC, SVT Swedish Television, Universal Music

Production Company:

Apple Corps Limited

Country of Production:

UK

Synopsis

The Beatles No. 1 Music Video Restorations for Apple Corp were completed in 2015. The project involved extensive picture research by Apple Corp and picture restoration by Deluxe Restoration of 27 No.1 videos and a further 23 new unreleased videos. Audio re-mastering was completed by Abbey Road Studios to produce a new BluRay Deluxe Collection released for sale on November 5th 2015. This restoration project involved every possible format of original source elements, from 35mm original colour negatives to 2 inch quad tapes, all from the period 1963-1970. The project required extensive research by Apple Corp to locate the originals and great versatility from the restoration team in meeting the restoration challenges of such varied content to deliver the highest possible quality HD masters for BluRay release

The Nature of Things: Jellyfish Rule!

Director:

Susan Teskey

Producer(s):

Lisa Ellenwood

Footage Archive Researcher:

Gina Cali

Archival Sources:

Evergreen Studios, Howard Hall Productions, PhD Oleg Kovtun, Odessa National I. I. Mechnikov University, Ukraine, T3 Media / National Geographic, Teschefilm 2011 distributed by Studio Hamburg Distribution & Marketing

Production Company:

CBC

Country of Production:

Canada

Synopsis

Jellyfish are one of earth's most ancient animals, and many scientists predict they will be here long after we're gone. Could these creatures that are 95% water with no brain and no backbone be the planet's ultimate survivors? Join some of the world's foremost jellyfish scientists in uncovering the secrets of jellyfish success. It seems there is a lot more to jellyfish than we ever could have imagined. Jellyfish Rule! is a film that includes a variety of stock footage licensed from (5) commercial stock houses and (14) sources ranging from independent shooters, scientists and fans of jellyfish. It's an excellent example of how extremely rare footage never seen publicly can be uncovered from "not so obvious sources" and used to accurately visualize a featured scientist's story. This documentary successfully reveals unique behavior in the natural world through the use of a variety of stock footage and delivers it seamlessly throughout the edit. A total of 13 minutes of stock footage was licensed in the production of Jellyfish Rule!

Lenor 'Odes to Clothes: Marvellous Scarf'

Director:

Joe Roberts

Producer(s):

Jody Winterbottom

Footage Archive Researcher:

Jody Winterbottom

Archival Sources:

Individual film makers, Getty Images, Framepool, Shutterstock, FILM Archives

Production Company:

The Director Studio for Grey Dusseldorf

Country of Production:

UK, Germany

Involved Partners:

Producer for Grey Düsseldorf: Nina Köhler

Synopsis

The ECDs at Grey Düsseldorf were challenged to move Lenor's advertising away from traditional "product bottle falling on white towel" and give it an edgy feel. They came up with the Odes to ubiquitous articles of clothing and wanted risky, fast paced films to bring the Odes to Clothes to life. We sourced individual clips from film makers all around the world as well as utilising stock libraries. It was a huge undertaking to source and clear these shots and the first project that we have fully produced.

Free To Run

Director:

Pierre Morath

Producer(s):

Jean-Marc Frohle, Fabrice Esteve, Marie Besson

Footage Archive Researcher:

Prudence Arndt, Deborah Ford

Archival Sources:

Salmini Films, NBC News, ABC NEWS, RTS, OTAB

Production Company:

Point Prod, Yuzu Productions, Eklektik Productions

Country of Production:

Switzerland, France, Belgium

Involved Partners:

Associate Producers: David Rihs, Christian Popp, Samuel Tilman

Synopsis

Nowadays, millions of people run through the streets of New York, on the mountain trails of Switzerland, in Paris or Sydney, champions rubbing shoulders with unknowns. Yet just 50 years ago, running was an exclusive all-male sport reserved for top athletes competing in the stadium, whose rules were set by antiquated, sexist sporting authorities. How did we get from there to here? Via the stories of pioneering figures like Steve Prefontaine, Fred Lebow, Kathrine Switzer and the creators of the cult magazine Spiridon, FREE TO RUN takes us on an amazing journey, through five decades of the grassroots running movement. The film is made of 60% of archives, most of them very rarely seen. It covers a period from the 60s to today, uses 53 archives sources from 9 different countries, mixes amateur and professional sources, film, photo and video, and has requested 2 full years of complex archive research, facing multiple layers of rights, lost masters or contracts, a real detective work, uncovering some never seen footage like the film of Kathrine Switer during the 1967 Boston Marathon.

Amy

Director:

Asif Kapadia

Producer(s):

James Gay-Rees

Footage Archive Researcher:

Paul Bell

Archival Sources:

Universal Music Group, Family & Friends - amateur footage, Getty Images, BBC, Videoplugger, ITN Source

Production Company:

On The Corner

Country of Production:

UK

Synopsis

The story of Amy Winehouse in her own words, featuring unseen archival footage and unheard tracks. With Amy (like our previous film Senna) we have tried to push the use of archive material to the forefront of factual storytelling. We believe this approach to documentary filmmaking is both compelling and essential.

Imagine: The Ecstasy of Wilko Johnson

Director:

Julien Temple

Producer(s):

Richard Conway, Andrew Curtis

Footage Archive Researcher:

Miriam Walsh

Archival Sources:

Mosfilm Cinema Concern, National Cinema Centre of Armenia, UTV Archive, Fuji Television Network Inc, BBC Information and Archives

Production Company:

Essential Arts Entertainment, Nitrate Film, BBC

Country of Production:

UK

Synopsis

The film confronts our worst nightmares of impending death and turns them upside down. It tells the extraordinary story of musician Wilko Johnson, who diagnosed with pancreatic cancer and given a few months to live, accepted his fate with uplifting positivity and embarked on a farewell tour, capturing the imagination of the world. But like every good story Wilko's has a fine twist. Two years later, confounding the odds, Wilko wakes up in a hospital bed, unexpectedly sentenced to live, having to integrate those enlightened lessons learnt under sentence of death into the unexpected and ongoing future of his life. This feast of very rare and beautiful clips are used sublimely to illustrate the fears and joys of a man facing his own demise. Death illustrated through cinema. The film includes footage never seen before including archive of Johnny Kid and The Pirates from UTV and wonderful amateur footage of Canvey Island from Richard Morgan and Brian Waterman of the Brandon Estate cine club. The director Jonathan Demme has said of Julien's film that it is a "game changer" in the way it uses archive to illustrate its subject.

Best of Enemies

Director:

Morgan Neville, Robert Gordon

Producer(s):

Morgan Neville, Robert Gordon

Footage Archive Researcher:

Jane Kelly Kosek

Archival Sources:

ABC News VideoSource, Getty Images, Hoover Institution Archive at Stanford University, WNET, T3 Media

Production Company:

Tremolo Productions, Magnolia Pictures

Country of Production:

USA

Synopsis

In the summer of 1968 television news changed forever. Dead last in the ratings, ABC hired two towering public intellectuals to debate each other during the Democratic and Republican national conventions. William F. Buckley Jr. was a leading light of the new conservative movement. A Democrat and cousin to Jackie Onassis, Gore Vidal was a leftist novelist and polemicist. Armed with deep-seated distrust and enmity, Vidal and Buckley believed each other's political ideologies were dangerous for America. Like rounds in a heavyweight battle, they pummeled out policy and personal insult their explosive exchanges devolving into vitriolic name-calling. Live and unscripted, they kept viewers riveted. Ratings for ABC News skyrocketed. And a new era in public discourse was born. Directed with consummate skill by filmmakers Robert Gordon and Academy Award-winning Sundance Film Festival alum Morgan Neville (Twenty Feet From Stardom), Best of Enemies unleashes a highbrow blood sport that marked the dawn of pundit television as we know it today. In Best of Enemies, we made the creative decision to allow our two protagonists to appear in the film exclusively through archival footage. Both Vidal and Buckley lived full lives in front of the camera, so we had a deep well to draw from. By using archival footage to speak for both Buckley and Vidal, we were able to craft intimate, nuanced and balanced portraits of both men.

The Black Panthers: Vanguard of the Revolution

Director:

Stanley Nelson

Producer(s):

Stanley Nelson, Laurens Grant

Footage Archive Researcher:

Lewanne Jones, Nicole London, Laurens Grant, Sam Aleshinloye

Archival Sources:

NBC, T3 Media/CBS, Chicago Film Archives, Cine Tamaris- Agnes Varda, Oddball film and Video

Production Company:

Firelight Films, Inc

Country of Production:

USA

Synopsis

THE BLACK PANTHERS: VANGUARD OF THE REVOLUTION is the first feature length documentary to explore the Black Panther Party, its significance to the broader American culture, its cultural and political awakening for black people, and the painful lessons wrought when a movement derails. The film uses extensive archival materials to render an engaging and nuanced portrait of the Black Panther Party. The two hour film is comprised of over 50 minutes of archival footage alone. The research team investigated hundreds of sources, both domestic and international, as well other filmmakers' archives. The coup de grace came when never-before footage found on the floor of person's closet matched the audio of a never-before heard phone confrontation between Huey Newton and Eldridge Cleaver, allowing us to present a pivotal and resonant scene. Many of the photos used in the film have also never been seen. Sources include, but are not limited to, filmmakers, US and international archives: and numerous broadcast affiliates: ABC NEWS VIDEOSOURCE, Associated Press, CBS Television Distribution, Center for Sacramento History / KCRA, Chicago Film Archives, Cine-Tamaris (Agnes Varda), Critical Past, Freedom Archives,Getty Images, Global Imageworks, INA Media, ITN Source, Mark Kitchell ,MAYSLES FILMS, Morley Markson, The National Archives and Records Administration, NBC News - NBC Universal Archives
, Third World Newsreel, Richard Nixon Presidential Library and Museum, White House Communications Agency, Oddball Film+Video, Producers Library, Hoover Institution Archives, Sveriges TV (SVT - Swedish Television), T3 Media, UCLA Film & Television Archive, Washington University Film & TV Archive, ARTE France.

The Queen of Ireland

Director:

Conor Hogan

Producer(s):

Ailish Bracken, Katie Holly

Footage Archive Researcher:

Aoife Kelly

Archival Sources:

RTE, Personal Archives (incl. O'Neill Family, Angelo Pitillo and Ger Philpott), Irish Queer Archive (Tonie Walsh), Invisible Thread Films & GAZE Film Festival and Pony Ltd (Niall Sweeney)

Production Company:

Blinder Films

Country of Production:

Ireland

Synopsis

The Queen of Ireland is a 2015 Irish documentary film directed by Conor Horgan. It focuses on Rory O'Neill, better known as Panti (a drag queen and gay activitist), in the lead up to the historic referendum on marriage equality for same-sex couples in Ireland. When the film debuted in Ireland, it had the highest ever grossing opening weekend for an Irish documentary. This programme while it has an irish backdrop is a universal story. The archive in this production has been used to weave together a monumental moment in social history. Over the last few years Rory has become a figurehead for LGBT rights in Ireland and since the recent scandal around 'Pantigate', his fight for equality and against homophobia has become recognised across the world.The Queen of Ireland is a documentary film that follows Rory's journey from the small Mayo town of Ballinrobe to striding the world stage

Every Face Has a Name

Director:

Magnus Gertten

Producer(s):

Lennart Strom, Magnus Gertten

Footage Archive Researcher:

Magnus Gertten, Sebastian Claesson

Archival Sources:

SVT, Swedish Television

Production Company:

Auto Images

Country of Production:

Sweden

Synopsis

On April 28, 1945, life begins again. Hundreds of survivors from the German concentration camps arrive to the harbour of Malmo, Sweden. While they take their first steps in freedom Swedish news photographers film them. Now, 70 years later the survivors are watching this archive footage for the very first time and as they discover themselves they re-experience the emotions from this special day. In Every Face Has a Name the use of archive material is adding perspective to our present everyday life. Many emotional stories are evoked for the first time in Every Face Has a Name and the archive reveals an extraordinary blend of stories coming from Jewish survivors, Norwegian resistance men, Polish mothers with newborn babies and British spies. All united in the moment of freedom. Moments and scenes also taking place all over the world today. Endless streams of war survivors arriving to a new country. All anonymous. Faces without names.