Blend Images: Opening for a Stock Motion Workflow Manager

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The Seattle based Blend Images workflow team is seeking an innovative, results oriented, stock video professional to oversee content editing, quality control, distribution and support of our fast building stock clip library. The ideal candidate will have experience in stock video production, solid technical skills, sound business judgement and work well in a team environment.

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Blend Images is looking for a Stock Motion Workflow Manager

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Blend Images
501 East Pine Street #200
Seattle, WA 98122
jobs@blendimages.com

Description:

The Seattle based Blend Images workflow team is seeking an innovative, results oriented, stock video professional to oversee content editing, quality control, distribution and support of our fast building stock clip library. The ideal candidate will have experience in stock video production, solid technical skills, sound business judgement and work well in a team environment.

Basic Qualifications:

• Solid experience with Final Cut Pro, Compressor, and other major motion graphics editing software (Avid, Lightworks, Premiere, After Effects, Resolve, etc.)
• Knowledgeable in converting raw footage into finalized, edited clips, including attention to grading, coloring, clipping and appropriate CODECS.
• Understanding of technical and aesthetic specifications for commercial quality clips.
• Ability to communicate editing and Q.C. considerations with filmmakers, giving them feedback and assistance.
• Attention to detail and strong skills maintaining a workflow.
• Strong knowledge of current digital video systems used to capture footage including high end systems like RED and ARRI, but also widely used DSLR systems such as Sony a7, Canon, Nikon, Fuji.
• Experience with Metadata and Digital Asset Management.
• Team player and strong communicator.
• Responsible for managing submissions to distributors and maintaining relationships and current clip standards.
• Interface with direct clients to answer film related questions on assets sold directly and through channel.

Preferred Qualifications:

• Four-year college degree or equivalent
• Strong interpersonal skills
• Ability to juggle multiple priorities
• Strong analytical and quantitative skills
• Experience and knowledge working directly in the creative process, a passion for filmmaking and familiarity with current trends and innovations. Compensation commensurate with experience.

Blend Images is an Equal Opportunity-Affirmative Action Employer –

Minority/Female/Disability/Veteran/Gender Identity/Sexual Orientation
Please do not solicit the office directly. Resumes, and requests for information will only be responded to through our e-mail box – jobs@blendimages.com

PUBLIC DOMAIN IMAGES, CAN ANYONE USE THEM?

Since Carol Highsmith filed a claim in federal court last week against several DMLA members under Section 1202 of the Copyright Act based on images licensed by such members that she provided to the Library of Congress LOC and were displayed on the LOC website as “unrestricted”, we have received many inquiries about the meaning of “what is public domain” and whether can you license a digital file or sell a work of art that is in the public domain.  Nancy Wolff, DMLA Counsel, answers this question in our blog here.

CAN ANYONE USE PUBLIC DOMAIN IMAGES?

by Nancy Wolff, DMLA Counsel

Answer: YES, there are no restrictions on any use of public domain images, including making them available to users for a fee.

Since Carol Highsmith filed a claim in federal court last week against several DMLA members under Section 1202 of the Copyright Act based on images licensed by such members that she provided to the Library of Congress LOC and were displayed on the LOC website as “unrestricted”, I have received many inquiries about the meaning of “what is public domain” and whether can you license a digital file or sell a work of art that is in the public domain.

First, when any work is in the public domain, anyone can use it for any purpose. Works subject to copyright can be in the public domain because copyright expired or is forfeited; the work is a US government work under US copyright law or the work is dedicated to the public (there is now even a Creative Commons license to dedicate a work to the public).

The purpose of limits on copyright is that the public domain benefits the public and serves the public good. Once a work is in the public domain, anyone can make a productive use of it, including commercializing the work. This applies to all works that can be under copyright, such as images, books and music. You can still buy a book of Shakespeare’s plays published by numerous publishers. Or you can go to the library and painstakingly photocopy each page.  You have a choice. The same is true with images.

Many DMLA members specialize in or include archival material in their image collections and make theses images available to publishers and other users and charge a fee. There is nothing improper or illegal about that. These archives or the collectors have made substantial investments in scanning, enhancing, keywording and making their copy of the public domain work easily searchable and usable. So a publisher can find a copy of an image from another source, but it may be low quality, it may only be in print form and it may not be easy to locate and use. With tight publishing deadlines, having a source of an image that is readily available and searchable adds value and is a benefit to users.

Nor is it improper to call the fee charged to use a public domain image a “license” A license merely means permission to use “my copy”. You can have a license that applies to the access and use of a copy, or it can apply to any sort of IP license such as copyright, trademark or patent. But the term only refers to permission and it is not limited to an IP right.  So archives and image libraries that have some historical out of copyright works can license those works to a user for a specific purpose because those are the contract terms a user agrees to.

More on Section 1202 later.  Section 1202 relates to the removal or alteration to defined copyright management information with the intent to cause or facilitate an infringement. A recent case was just decided under this section of the Copyright Act and we published a blog here.

 

First Small Claims Bill Introduced in Congress

Washington, D.C., July 14, 2016 – In the wake of its release of a white paper setting out the key components of a copyright small claims bill, a coalition of visual artist groups commends the attention that this critical issue is now garnering on Capitol Hill. Rep. Hakeem Jeffries’s (D-NY) introduction, along with original cosponsor Tom Marino (R-PA), of a bill, H.R. 5757 of a bill establishing a small claims board and the forthcoming introduction by Rep. Judy Chu (D-CA) of her own version of small claims legislation establishing a small claims tribunal in the Copyright Office, are a welcomed next step in a process that will hopefully result in much-needed legislative relief for photographers, photojournalists, videographers, illustrators, graphic designers, and other visual artists and their licensing representatives. These artists are currently squeezed out of the legal system by the high cost of bringing suit in federal court and have seen their licensing revenues decimated in recent years by the proliferation of copyright infringement, particularly in the online context.

We look forward to working with Representatives Jeffries, Chu and all members of Congress to correct this inequity in America’s copyright system.

Earlier this year, the coalition, which includes the American Photographic Artists (APA), American Society of Media Photographers (ASMP), Digital Media Licensing Association (DMLA), Graphic Artists Guild (GAG), National Press Photographers Association (NPPA), North American Nature Photography Association (NANPA) and Professional Photographers of America (PPA), set forth recommendations with regard to key components in any forthcoming congressional small claims legislation.

Coalition members believe small claims reform to be their top legislative priority and call upon Congress to enact legislation that provides visual artists and other small creators with a viable, affordable alternative to prosecuting copyright infringement in federal court—a prohibitively expensive and little-used option by visual artists. This approach is largely consistent with the legislative recommendations set forth in the “Copyright Small Claims” report released in late 2013 by the U.S. Copyright Office which deserves much credit for its groundbreaking effort in this area.

Cathy Aron, Executive Director of the Digital Media Licensing Association (DMLA) said, “Our association supports the creation of a copyright small claims forum to encourage licensing of visual content from legitimate sources. A small claims court should help stem the tide of “right-click” image use as it offers content creators and their representatives a way to effectively enforce copyright and seek appropriate payment. The digital economy needs to work for all participants and this is an essential step forward.

A copy of the visual artists coalition’s white paper is available here.

For more information, please go to here or contact Lindsey Forson copyrightdefense@ppa.com

Erickson Stock Offers a New Royalty-Free Stock Image Collection

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Erickson Stock announces half of its assignment-quality image collection will be released to a new royalty free pricing model. Erickson Stock has been a premiere boutique for unique stock photos for over 15 years. Covering visual topics such as healthcare stock photos and video, business stock photos and video, family stock photos and video, and many more.

Produced and directed by renowned photographer and artist Jim Erickson, this high-end collection has long been regarded by graphic designers and artists as some of the finest stock imagery in the world. Erickson’s award-winning photography has been said to “illustrate stories with the eye and heart of a photojournalist.’”

This is the first time Erickson Stock images have been offered in the royalty free format with a price point of just $750 per image.

Erickson Stock is the preferred choice for comps, swipes and creative ideas that are persuasive and visually dazzling. Designers seamlessly create their own cohesive, custom-looking campaign with this curated collection that has, until now, been exclusively Rights Managed.

Stock photos can be searched by visiting ericksonstock.com and checking only the “RF Images” checkbox, or simply look for the RF750 watermark on selected images.

Workbook to sponsor Visual Connections New York Image Expo 2016

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Workbook, the leading marketing resource for commercial photographers and illustrators, will again be the Principal Sponsor of this year’s Visual Connections Image Expo at the Metropolitan Pavilion in New York on October 27.

Workbook’s involvement last year took Visual Connections in an exciting new direction, into assignment photography, illustration and footage, perfectly complementing the traditionally strong presence of editorial and creative stock agencies, and making the event even more attractive to creative buyers and producers.

“Visual Connections gave us the opportunity to take our message about the power of assignment photography and illustration to an entirely new audience,” said Bill Daniels, CEO of Workbook. “We felt like it could not have gone better so we look forward to working with the Visual Connections team to build on that success at this year’s event!”

Artist reps, production companies and stock agencies are all part of one ecosystem, supplying publishers, advertisers, designers and TV producers with millions of images and seconds of footage. Visual Connections is the meeting place for all the professionals involved in creating, researching, sourcing and licensing visual content.

97% of the people who attend Visual Connections are actively seeking new providers of visual media; and that’s what they find: agencies and reps they hadn’t heard of and wouldn’t have found out about any other way.

“This relationship with Workbook has been hugely successful in helping us become the meeting place for all visual creatives. Those who routinely use stock benefit from seeing the work of some of the world’s top photographers; those who mainly commission new content benefit from seeing the wide variety of stock available when time or budgets are tight,” says Deborah Free, Co-President of Visual Connections.

Fully-inclusive exhibitor packages start at just $1,040 for a first-time exhibitor booking by July 31, plus there’s a range of advertising and promotion options to suit all budgets.

Full details about the event are available here