Butchers Hook Blog
Of all the advancements in the fields of film making in the last few years, the most unexpected and interesting is the explosion of viral video. YouTube, of course has the dubious honour of shooting the starting gun in 2005, having been set up by three former Paypal employees who surely never had *any* idea how it would shape the social landscape of the last decade.
From early classics like the Kollaboration robot dancing boy spawned an explosion at cats falling off sofas, leave Britney alone and Charlie bit my finger. The common thread is these videos went truely viral, without any marketing campaigns and have been seen by millions upon millions of people.
Now companies pay companies like ours LOADS of money to replicate the same effect through blogger outreach, YouTube seeding and other campaigns. But it really takes a video like the one below, sent to me on Facebook the other day by a friend - to make one marvel at the weirdness of viral video and how it ticks.
Now it's worth debate as to whether D4NNY is for real of if this is one of the slyest marketing pisstake campaigns of the year. Either way, the boy has over 1m views of this video in under a month.. everyone might be having a laugh - but with *at least* the start of a nice little earner from revenue sharing with YouTube - is the laugh on us?
Music is the under pinning for any video production, whether it be promo, music video (obviously), training video or feature film. It's inportance for setting the mood for the visuals cannot be understated and provides the tempo for the whole production.
Copyright for music is a complicated business. During the course of our work producing video, we would normally recommend to client's using one of the terrific sound libruaries like Audio Network to provide broadcast qualify generic music. For custom music, there are PLENTY of eager musicians/composers eager to produce interesting work for the video producer.
Unless you have bags of money and time, one way NOT to do it is to rip a track from your CD collection, unless you retain a copyright lawyer who will contact the publishing company with what might be a very expensive and long, drawn out negotiating process. There are at least three different copyrights you will have to gain rights to for any piece of commercial music: composers’ rights, performer’s rights and synchronisation rights.
Generally, if the composer has been dead for more 50 years, the music enters the public domain (no more composer’s copyright.) Because Vivaldi has been dead more than 50 years, you may use his music without paying for the composer’s rights. However, if the performance you have chosen of his music was played by say, the London Philharmonic Orchestra, then you will still have to pay the publisher performance rights so that the musicians get their fair share.
Here's an example of a video we produced for Remeha which features Spring from Vivaldi's Four Seasons.
If you just must use a specific piece of music, you will have to jump through these hoops and pay the price. Do not try to get away without paying copyright charges. The legal ramifications are serious! Even if your program is a “not for profit” film festival entry, you must investigate the copyright. Sometimes a publisher will grant you the rights for free (or very little cost) for festival films, but not always.
For the third year in a row, we were delighted to be asked to shoot more videos for one of our best clients SanDisk. These video productions were shot at Camberwell Studios in South London, graphics by young Steven Probets.
Full HD Capture
Memory Zone - Organise
Memory Zone - Back Up
People watching The Voice on BBC1 this weekend will have seen Butchers Hook's old pal Elesha Paul Moses performing and being picked by Will.i.am for his team. Elesha is significant with us as Evan and I joined forces for the first time to produce a video for her song "I'll be waiting" back in 2009. It was filmed against a green screen in Brighton club venue Oceana and post production was supplied by top London CG generalist Michael Bonnington. Best of luck to Elesha for the series upcoming!
Last week we were handed our keys for the new office - a lovely former fisherman's cottage right in the heart of Brighton, one street from the seafront. It is one of the oldest Streets in Brighton (part of the original village of Brighthelmstone) and has a Thai restuarant and pub next door (!!) Feel free to drop by to chat about future video production projects or have a cup of tea!
Steven, our editor thinks it looks like Harry Potter's Diagon Alley
Evan making himself at home
Next to the pub! ulp!
Our Creative Director Evan Pugh has been playing around with the picture profile settings on our video production workhorse - the Sony FS-100. Evan was keen to adjust the settings like he was using an old school SLR.
Evan has been getting a lot of feedback on the photos he took for this article on Twitter, so for you camera junkies - here they are
Black level -13
Black Gamma range middle level +7
knee manual point 102.5% slope -1
colour mode type cinematone1 level 8
colour level -8
colour phase 0
detail level +7
manual set on, V/H balance 0 Type 3 Limit 7 crispening 2 hi-light detail 4
For the third year running , we were entrusted with a web promo to produce for one of our best clients, SanDisk. Here are some shots from the day - filmed at Camberwell Film Studios - a great venue!
Once again our shoot was blessed by the awesome-ness of Onions O'Malley and his cheeky chappy persona
Dan - our juggler who was one of a number of crew who we hired in London but turned out to be Brighton based!
Our Bond girl sounding Ukrainian connection and leading lady - Yuliya
Our creative team doing what they do best! :)
Why do any work when there's a perfectly good Director to do it for you...?
Yuliya reclining on the hard fought for Ikea sofa..
Our lovely (and very funny) make up lady - Zoe, with Dan the juggler