DMLA 2017 Conference is Another Big Success

I’ve just returned home from New York and I’m feeling so grateful for your participation in this year’s DMLA Annual Conference.  Our attendance was greater than last years and I trust that you were happy to be back in Manhattan!

The conference survey has been distributed and I hope you take the time to give us your feedback on this year’s event.  Your comments are so important as we begin to prepare for next year’s meeting in Los Angeles, California.  With all the exciting new things on the West Coast in terms of media and usage we are very excited to bring DMLA out west!

First I want to give recognition to all the wonderful speakers, moderators and panelists who made the conference so compelling.

As all of you know, lots of work goes into putting on an event like the DMLA 2017 Conference and we are so privileged to work with so many talented people.  To our Program Committee led by Ophelia Chong (Stock Pot Images), Doug Dawirs (DMLA Tech Advisor), Rick Gell (Consultant), Paul Melcher (Melcher Systems), James Oh (Adobe), Andrew Rowat (Haystack), Julie Sloane (Science Source) and Sonia Wasco (Grant Heilman Photography) a huge thank you for putting together such a diverse and interesting program.

A huge thank you to Doug Dawirs for working so tirelessly both days on the AV for the sessions and making sure that everything flowed so well. And an extra thank-you to Ophelia for her design of the conference logo and the new fold-up program that I believe everyone really enjoyed having right in your name badge holder this year!!

A special thank you to Geoff Cannon, our DMLA President, for his support and guidance and to our Treasurer Chris Carey and Past President Sonia for all their extra help.

It’s almost impossible to put on a conference without the assistance of our sponsors to help with the costs and we are so grateful for their generosity.  Adobe stepped up again with the Platinum Sponsorship and provided the wonderful conference bags, the delightful opening reception and provided us with a great session.  Silver Sponsor Capture’s DMLA LIVE DAM 2017 gave everyone easy access to find people for meetings and they also sponsored the great notebooks everyone was using to take notes!  I hope you’ve checked out the site (https://dmla.capture.co.uk) since the conference to see all the great live images!

Thanks also to Cowan, DeBaets, Abrahams and Sheppards (CDAS) for sponsoring the lanyards.  To Clarifai, attending their first DMLA Conference, thanks for stepping up and sponsoring our Monday night cocktails!  Our printing was coordinated once again by Grant Heilman Photography and KeyIndia provided us with a wonderful masseuse that I hope you enjoyed.  Additional kudos to ImageRights who sponsored the photo booth at the cocktail parties (such fun) and the covered coffee cups during the day.

It was really nice this year to include more motion in our sessions and we thank both FOCAL and ACSIL for their participation and sponsorship.

And to our photographers Bjorn Bolinder (for the conference) and Jamie Ellington (for the receptions) who donated their excellent skills to our cause we are so very thankful.

And to Andrea Stern and Mary Egan from MOCA who helped me secure the sponsorships and provide all-around support for this event, a big hug and thanks!  They also have reviewed all the sessions and we will have those reviews up on the DMLA website ASAP.

Our photographers Bjorn Bolinder (for the conference) and Jamie Ellington (for the receptions) donated their excellent skills to our cause, many thanks!

Again, thanks to each of you for your support of DMLA and the conference.  I look forward to hearing your thoughts and suggestions.

If you would like to be involved in next year’s conference planning, please contact me.  cathy@digitalmedialicensing.org.    Looking forward to seeing everyone next year!

 

 

Capture unveils new front-end WordPress technology at DMLA 2017

Capture is proud to be showcasing its new front-end Capture WEBSITE 3 technology – the window to your assets which forefronts audience engagement – at the DMLA 2017 conference in New York on October 22-24.

This represents a new dawn for Capture’s product range because for the first time, instead of the look and feel of our front-end being controlled by Capture’s proprietary content editor, the Content Management System (CMS) will use WordPress.

Other features include easy drag-and-drop upload – that can handle anything from crowd-sourcing to sophisticated controlled contributor editing and ingest of content and metadata – as well as end-user tagging of assets. Highly-collaborative lightboxes make for powerful and intuitive research tools. The system handles all types of content, including video (which plays on hover), audio and multiple-page pdfs.

The exceptional user interfaces have been worked on by Capture’s artistic director, who is an expert in modern user journeys, and Capture’s front-end design team.

This will give an unparalleled combination of all the power of Capture’s Digital Asset Management (DAM), business and e-commerce platform, with the immense flexibility and responsiveness of WordPress.

For existing users, all the great functionality of Capture WEBSITE 2 will be carried forward in beautifully designed, fully responsive interfaces that will function on all devices, including mobiles, tablets and laptops, in an easy upgrade process.

For new users, all Capture systems can be rolled out quickly and cost-effectively through our automated tech platform.

 

Abbie Enock, Capture CEO, said: “Capture WEBSITE 3 provides a terrific shop-window for stunning content – and complements perfectly the LIVE EVENTS workflow that is being showcased at DMLA to handle the conference media assets. The WordPress platform will give people the flexibility and extensibility they are looking for in this ever-changing technical world. Augmented with our ROYALTIES, FINANCE and LICENSING products it provides a compelling experience for your clients – and a streamlined and efficient environment for your staff.”

Key features include:

  • All-new design and UX – WordPress platform; standards compliant; SIMPLICITY.
  • Completely responsive – will work on any device.
  • Completely scalable – no barriers to numbers.
  • Completely extensible – modular, self-serve, flexible tech options.
  • Real-time indexing – lightning fast search.
  • Ability to aggregate content across all sites – one-hit search / approved source control.
  • Promotional and upselling features – to help creators/sellers be successful.
  • Amazon-style easy licensing process – so easy to buy, buyers use it.
  • Broader extensible functionality – WordPress plugins.
  • Audience participation.
  • Uniquely powerful combination of Capture DAM and business platform, combined with design flexibility of WordPress.

DMLA 2017 is being held at The New Yorker, Manhattan, 481 8th Ave & 34th St, New York, NY 10001 from October 22nd to October 24th, 2017.

About Capture Ltd

Capture is a leader in enterprise-grade media management systems and services that include instant content delivery from live events, rights, licensing, metadata, finance and royalties. For more information please see www.capture.co.uk or email welcome@capture.co.uk.

20/20 Software Offers New Tools For Working With Footage

 

20/20 Software is pleased to announce the addition of our newest tools for working with footage in our 20/20 Software system:

Clipping. Our Media Asset Manager creates clips from a master reel and saves them as new media records. In addition, it can create time slices for customer orders and deliver those slices to customers. Our websites allow customers to create time slices and then deliver them on the fly.

Offset Timestamps. Our Media Asset Manager supports offset timestamps, making it easy for the media library to get the correct time slices from the customer. Then, using the clipping feature, easily and efficiently make clips for delivery.

Multi-processing. Our Media Asset Manager processes videos with the ability to make clips, resize, apply timestamps (offset or standard), apply watermarks, and apply text overlays (scrolling or fixed) – all at the same time. In addition, the processor creates posters, thumbnails, and optionally playable thumbnails, all as part of the same video-processing action.

Batch processing. All the features of multi-processing can be done in batch.

Don Resnick, President of 20/20 Software, said “We’re excited to add these new features to our software’s current video functionality. These new features join our existing enhancements for footage and video functionality, giving our clients the ability to offer clipping, pricing, and online delivery – all in a seamless and satisfying customer experience.”

20/20 Software is a leading provider of multi-media websites and image/business management software to media libraries, museums, corporations, institutions, and newspapers. Please call us at 203.316.5500 in the US to schedule a demo or contact us at sales@twensoft.com for more information about using our multi-media software system platform. Also, visit us at DMLA Table #12 on October 23-24, and at Visual Connections on October 25 at Table #H10-11.

Copyright Alternative in Small-Claims Enforcement Act of 2017

DMLA is happy to announce our support for the bill by Representative Hakeem Jeffries (D-NY) to create a small claims court within the Copyright Office.  The bill, H.R. 3945,  entitled, the “Copyright Alternative in Small-Claims Enforcement Act of 2017” (the “CASE Act”) is also cosponsored by Representatives Tom Marino (R-PA), Lamar Smith (R-TX), Doug Collins (R-GA), Judy Chu (D-CA) and Ted Lieu (DCA).

Here are links to the press release issued by Rep. Jeffries and his colleagues yesterday announcing the introduction of the bill, a press release issued by DMLA and several other visual artist organizations praising the introduction of the legislation, and the bill, H.R. 3945.

 

 

ImageRights Announces Dedicated Copyright Registration Service

ImageRights International, the global leader in copyright enforcement services for photo agencies and professional photographers, today announced the launch of a dedicated copyright registration service. For the first time, any photographer or agency can register their images with the United States Copyright Office through ImageRights highly efficient and precise copyright service. Previously, only ImageRights members had access to the service.

Read more here

Leading Copyright Enforcement Service Imagerights Announces Dedicated Copyright Registration Service


ImageRights International, the global leader in copyright enforcement services for photo agencies and professional photographers, today announced the launch of a dedicated copyright registration service. For the first time, any photographer or agency can register their images with the United States Copyright Office through ImageRights highly efficient and precise copyright service. Previously, only ImageRights members had access to the service.

ImageRights has successfully registered more than 600,000 published and unpublished images with the USCO through the service since its launch less than two years ago. The application is quick taking only a couple of minutes, simple with a high tech software that auto fills out the form, and most importantly accurate. With error checking technology, users can be assured their applications were filled out with all necessary information to protect images if an infringement claim is ever needed to be pursued. As a result of the accuracy of its applications and the long-standing relationship it has with the examiners at the USCO, ImageRights’ turnaround is among the fastest on the market, taking only a few weeks on average to receive the registration certificates versus the six to eight months cited on the copyright.gov website. Images can be registered through the website or by using the ImageRights Plugin for Adobe Lightroom.

ImageRights also inscribes the USCO registration number, date, status and deposit copies into the Bitcoin blockchain through their Blockchain Inscription Service. By using SHA2, an asymmetric cryptographic function, ImageRights can safely and automatically convert any file into a representative hash value. An effective and much faster alternative to requesting and paying for copies of the deposit copies from the USCO, the hash can be used as validated proof that a file containing the USCO registration information and images covered by the registration existed at that time and can be a valuable tool for expediting settlement negotiations for infringement claims.

“We strongly believe in photographers and agencies registering their images with the US Copyright Office and wanted to make our service readily available to all,” said Joe G. Naylor, President and CEO of ImageRights. “If the USCO form is not submitted the right way or the correct documentation of your work is not kept on file, photographers can be left vulnerable when pursuing an infringement claim. With our services they are 100% protected.”

Photographers and agencies can register their images with the US Copyright Office for $99 plus the Copyright Office filing fee at http://www.imagerights.com/copyrightregistration.

 

Webinar: “Social Media Strategy in the Consumer Revolution!”

WEBINAR
**Please note:  This will our last free webinar available to non-DMLA members

Social Media Strategy in the Consumer Revolution!

When: Wednesday, September 20, 1 PM Eastern

The impact of social media on today’s businesses can’t be overstated. Social media is one part disruptive technology, one part communication channel.   However, understanding why and how to use social media to the benefit of your business can be tricky.  Join us for this webinar that will address core concepts for building a social media strategy; engagement, social planning, framing the conversation, metrics and much, much more.

Our Guest Speaker:  Keith Quesenberry, Author, Professor and Social Media Expert

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Keith Quesenberry is an author, advertising executive, teacher and social media expert.  He is the author of Social Media Strategy: Marketing and Advertising in the Consumer Revolution which one reviewer compared to the legendary Ogilvy on Advertising for being well written, personable and drawing interesting and timeless parallels. Quesenberry spent 17 years in the marketing and advertising business as an associate creative director and copywriter at ad agencies such as BBDO and Arnold Worldwide.  He has worked with Fortune 500 brands like Delta Airlines, Exxon Mobile, PNC, Campbell’s and Hershey. 

In addition, Quesenberry is a contributing author to Harvard Business Review, Entrepreneur, Time, and Social Media Examiner. His articles have been recognized as Top 40 Content Marketing and Top 5 Visual Marketing articles of the year, Five Most Viral Marketing Posts from the Pros, and two were featured on the Harvard Business Review Weekly Hot List. He’s made marketing expert appearances on MSNBC TV, NPR, and been quoted in Harvard Business Review, the New York Times, the New Yorker, Entrepreneur, the International Business Times, Forbes, MS Money, MSN, Fox News, Fox Business, Variety, Yahoo News and AFP stories around the world.  

Quesenberry is an assistant marketing professor, researcher and consultant. He teaches in the undergraduate marketing program and graduate MBA program at Messiah college and the graduate IMC program at West Virginia University. He also previously taught at Johns Hopkins and Temple Universities. He holds a bachelors degree in Advertising and Journalism, is a graduate of the advertising school Portfolio Center and has a master’s degree in Integrated Marketing Communication.

Twitter: @Kquesen
linkedin.com/in/keithquesenberry
kquesen1@mix.wvu.edu
Social Media Strategy Book
bit.ly/QuesenberrySM

Our Moderator: Leslie Hughes, CEO, iSPY Visuals, Strategic Advisor, VisualSteam

Leslie Hughes career bridges creativity, content and technology.  Hughes founded and launched iSPY Visuals in 2016, a search aggregation tool for creative professionals, which is quickly growing into the starting place for clients searching for visual content.  She remains a strategic advisor to VisualSteam which focuses on digital marketing services to help companies grow.  Hughes has a long history in stock photography having been President of Corbis Images during its heyday, having been Group CEO of ImageState, and having run worldwide sales for The Image Bank.  Hughes is currently a member of the Board of Directors of DMLA and Chair of this Webinar Series

https://twitter.com/lesliehughesny
https://www.linkedin.com/in/lesliehughesny
http://visualsteam.com
http://ispyvisuals.com

Please RSVP to info@visualsteam.com with a “Yes” or “No”

Adobe Connect

https://dmla.adobeconnect.com/r3y7a4qoycp

at 1 PM EST on September 20
select “enter as guest” and provide your name then click “enter room”

Please mute the microphone at the top.

To connect by phone dial…

855.870.5454 (toll free)
or
408.773.6768 (international)

Conference code: 163 631 9537

If you’ve not used Adobe Connect previously, we suggest logging into the session a few minutes before the start to download and configure the neccesary software.

A big thank you to Adobe for providing this service for our webinars

View our previous webinars athttp://digitalmedialicensing.org/video-library.shtml

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DMLAsearch

DMLA is a unique community of visual media licensing professionals who share a common goal, building a stronger and more profitable industry.

For more information contact Cathy Aron, DMLA Executive Director, cathy@digitalmedialicensing.org

Ophelia Chong, Stock Pot Images, Does it All

 

Ophelia Chong, Program Chair for the DMLA 2017 Conference and Founder and CEO of Stock Pot Images is one those people who never stops.  She was recently featured in two articles about her business and one of her outreach projects.

“Today, the story of StockPot Images is rooted in many lives, and many realities, but it all began with Ophelia’s sister, who copes with an incurable disease.  She came to visit Ophelia and tried cannabis to help alleviate her symptoms.  Ophelia realized that this plant could help her promote her healing, health, and well being.  “How does the media portray people like my sister?”  The answer was with old stereotypes of potheads and such. This laid the groundwork for her mission: to advocate for the legalization of cannabis and offer truthful reflections of the faces and communities that embrace cannabis. ”

Congratulations Ophelia!  You bring great energy to DMLA!

COURT PERMITS COPYRIGHT CLAIM TO PROCEED DESPITE ERROR IN REGISTRATION APPLICATION.

For many copyright owners, especially those attempting to register works of visual arts, determining whether a work is published or unpublished for registration purposes is one of the more challenging issues and an impediment to registration. The District Court of the Southern District of New York, in Archie MD, Inc. v. Elsevier, Inc., (No. 16-CV-6614 (JSR), 2017 WL 3601180 (S.D.N.Y. Aug. 20, 2017)) recently clarified the standard by which a copyright registration may be considered valid despite containing inaccurate information.

Read the entire article here.

COURT PERMITS COPYRIGHT CLAIM TO PROCEED DESPITE REGISTRATION ERROR

Cowan DeBaets Abrahams & Sheppard, LLP by Mikaela Gross and Nancy Wolff

For many copyright owners, especially those attempting to register works of visual arts, determining whether a work is published or unpublished for registration purposes is one of the more challenging issues and an impediment to registration. The District Court of the Southern District of New York, in Archie MD, Inc. v. Elsevier, Inc., (No. 16-CV-6614 (JSR), 2017 WL 3601180 (S.D.N.Y. Aug. 20, 2017)) recently clarified the standard by which a copyright registration may be considered valid despite containing inaccurate information.

In 2005, Archie MD, Inc. entered into an Animation License Agreement (“ALA”) with the publisher Elsevier, Inc., under which Elsevier would license Archie’s library of 3-D medical animations for use in its various publications. About two weeks after entering into the ALA, and after Archie had delivered the works to Elsevier, Archie submitted a single copyright registration application for a group of unpublished works. This registration included the work at issue in this case, an animation entitled “Cell Differentiation.” The Copyright Office eventually registered the group of works on August 15, 2005.

In 2014, Archie gave Elsevier notice that it did not intend to renew the ALA, and the ALA expired on July 1, 2015. Archie subsequently file a copyright infringement action against Elsevier, alleging that after the expiration date, Elsevier continued to use hundreds previously licensed animations under the ALA and created unauthorized derivative works.

Both parties filed motions for summary judgment, and the SDNY granted defendant Elsevier’s motion as to all but two of Elsevier’s new animations, on the grounds that Elsevier’s continued use of previously licensed animations did not constitute unauthorized use under the ALA and most of the new animations by Elsevier were not substantially similar to Archie’s animations. As to the remaining claims based on the “Cell Differentiation” animation, Elsevier contended that Archie’s copyright registration in unpublished works was invalid because the work was in fact published, and as a result, the court should dismiss Archie’s claim in its entirety. The court denied Elsevier’s motion for summary judgement as to “Cell Differentiation” on the basis that although the registration for “Cell Differentiation” contained an inaccuracy (namely that the work was unpublished, when it in fact was), this was not fatal to the registration under 17 U.S.C. § 411(b)(1).

Section 411(b)(1) of the U.S. Copyright Act explains that a certificate of registration issued by the Copyright Office satisfies the registration prerequisite for filing a copyright infringement action regardless of the existence of inaccurate information in the certificate “unless— (A) the inaccurate information was included on the application for copyright registration with knowledge that it was inaccurate; and (B) the inaccuracy of the information, if known, would have caused the Register of Copyrights to refuse registration.” To determine whether Archie’s registration failed to satisfy this prerequisite, the court had to answer two questions: first, whether or not “Cell Differentiation” was published or unpublished, and second, if it was published, whether this inaccuracy on the certificate of registration was fatal to the registration’s validity.

As to the first question, the court held that “Cell Differentiation” was in fact published when Archie licensed and delivered the file to Elsevier. Reasoning that Archie’s delivery of the “Cell Differentiation” digital file pursuant to worldwide license to, among other things, distribute “Cell Differentiation” to the public, satisfies the Copyright Act’s definition of publication under 17 U.S.C. § 101 because it constitutes an “offering to distribute copies . . . to a group of persons for purposes of further distribution.” That Elsevier had not yet made any further distributions of “Cell Differentiation” at the time the copyright registration application was filed was irrelevant, because the licensing and delivery of the files was itself an offering.

Because the certificate of registration listed “Cell Differentiation” as unpublished, the court turned to the statute to answer the second question. If an applicant knew its application contained inaccurate information, and if the Register of Copyrights would have refused registration had she known of this inaccurate information, then a subsequent registration certificate is invalid for purposes of filing a copyright infringement action. 17 U.S.C. § 411(b)(2) requires that when an inaccuracy on a certification of registration is discovered, a court must ask the Register of Copyrights “whether the inaccurate information, if known, would have caused the Register of Copyrights to refuse registration.” The Register advised the court that she would have denied the application had she known of the inaccuracy in labeling “Cell Differentiation” unpublished. The key issue was whether Archie knew of the inaccuracy. Because the question of whether licensing a work constitutes publication was “an unsettled legal question at the time” Archie filed its copyright registration application in 2005, the court reasoned that Archie did not know of the inaccuracy. As a result Archi was able to proceed on its copyright claim for the work “Cell Differentiation”.

Publication remains a thorn in copyright owner’s side. While the plaintiff in this case was not considered to have knowledge that its works were published at the time of registration, those filing registrations after the later cases clarifying what is published will no longer have the benefit of this uncertainty. Because the Copyright Office would deny registration of an application with inaccurate information as to the works’ publication status, it is highly recommended that creators register works of visual art before any licensing agreements are signed or files are delivered for further distribution. Otherwise, published works, if photographs, can be registered by the photographer under a group registration of photographs application, but published and unpublished works are still required to be filed separately. Until this requirement is revised, visual artists will continue to face impediments to successful and effortless copyright registration.