New GH4 firmware (Early October)

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GH4-FW

The 4K Photo is a new way of photography that Panasonic is proposing. It encourages users to capture the spur-of-the-moment in high resolution 4K photo by cropping out a designated frame out of the 4K video. With the new firmware, it is easier to get a 4K photo by using the 4K Photo Mode. Once selecting the 4K Photo Mode, recording format / picture quality setting / brightness level are automatically set to the optimum parameters for photo shooting. Users can record high quality video either in 4:3, 3:2 or even 1:1 aspect ratios in addition to 16:9 – all can provide a still image with 8-megapixel equivalent resolution. Each JPEG image cropped out of the video footage complies with EXIF just as a normal still picture. While recording the 4K video in 4K Photo Mode, it is possible to mark the designated portion by just pressing the [Fn1] button. This can reduce postproduction work for searching the spur-of-the-moment worth cropping out. Moreover, 4K video can be recorded continuously with Loop Rec function which keeps saving the 5 newest 2-minute video files. Users can patiently wait for the perfect photo opportunity to come as long as they want keep the camera recording without worrying about the capacity of the SDXC/SDHC Memory Card*1.

There are more functional upgrades such as the addition of 4K video recording in 23.98p (MP4, AAC) and enhancement of controllability over ISO setting or the amount of flash emission. Also, the DMC-GH4 now expands its connectivity with external equipment. For example, the PC software “USB Tether*2” enables remote camera control (shooting, setting or image data transfer) by PC via USB.

The PHOTOfunSTUDIO 9.5PE and Panasonic Image App for iOS/Android will also be updated to support these functional upgrades.

The new firmware program is scheduled to be released with more information in detail at the Panasonic LUMIX Support Site at http://panasonic.jp/support/global/cs/dsc/ in the beginning of October, 2014.

For all your video production needs in Scotland, get in touch with Small Video Company Ltd

Sony’s Bill Drummond and the new XDCAM range of camcorders

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Sony-Jazz

Sony’s Bill Drummond from IBC 2014 going over the new range of Sony XDCAM camcorders.

For all your video production needs in Scotland, get in touch with Small Video Company Ltd

Day TWO IBC 2014…Panasonic’s long awaited VariCam HS and

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VaricamHS-web

The Varicam HS incorporates the AVC-ULTRA family of video codecs and high speed 1080p image capture of up to 240fps*1 and features an innovative modular design. The Varicam HS 2/3 type camera head docks with the AVC-ULTRA recording module to provide the full functionality and ergonomics of a conventional production camera/recorder. This system flexibility can be expanded with an umbilical cable between the 2/3 type camera module (AU-V23HS1) and the recording module (AU-VREC1), providing “box” camera functionality for jibs, cranes and other “remote” camera needs.  This common recorder module is also interchangeable with Panasonic’s new s35mm 4K camera module (AU-V35C1), enabling professionals to switch between 2/3 type and s35mm camera heads to best suit their creative needs.

The Varicam HS utilizes three newly-developed, 1920 x 1080p MOS imagers with an extraordinary 14 stops of latitude, providing full control over a wide range of lighting conditions for unparalleled 1080p native recording/operation. The camera/recorder boasts a classical RGB imager/prism system that provides equal-band full resolution colour processing for critical applications. Among the camcorder’s key features are real-time high frame rate and off-speed recording to 240fps in 1080p (using AVC-Intra Class100), plus the ability to ramp / change frame rates during record. To complement the impressive video quality, the new Varicam HS boasts 24-bit LPCM audio capabilities. Powerful yet creative image controls such as matrix, detail, gammas and a new Log recording capability allow precise, powerful creative control over image parameters.

The Varicam HS will feature a range of high-quality recording formats including AVC-Intra Class100 (recording as 1080/24p, 30p or 60p format with VFR (up to 240p*1), AVC-Intra Class200 (up to 30p/60i) and AVC-Intra Class4:4:4 (up to 30p). Both AVC-Intra Class200 and AVC-Intra Class4:4:4 deliver spectacular performance in applications where image quality is the utmost consideration to produce extraordinary high-definition imagery for the most demanding documentary, sports or SFX slow-motion applications. It also includes Apple ProRes 4444 and ProRes 422 HQ*2 support for HD recording. The ProRes codec component is licensed from ATOMOS Global Pty. Ltd., which has shipped ProRes recorders for years.

The Varicam HS adds “V-Log“ to the well-respected FilmRec and Dynamic Range Stretch (DRS) image contrast management controls. The Varicam HS will feature Panasonic’s Emmy® Award-winning Chromatic Aberration Compensation (CAC) technology to minimize lateral chromatic aberrations and dramatically improve the Modulation Transfer Function (MTF) of the optical system. Varicam HS also affords in-camera colour grading.

AVC-Intra Class4:4:4 supports 12-bit recording for 1080p content, allowing file-based 4:4:4 workflows with the unparalleled ability to handle the finer tonal graduations and colour fidelity that the 12-bit format provides. AVC-Intra Class200, at twice the bit rate per frame of AVC-Intra Class100, is visually lossless, delivering studio master quality for recording network-level programming and archiving. AVC-Intra Class200 is ideal for field capture of content for film-outs; the higher quality greatly enhances colour correction processes, as well as green screen and compositing applications.

The Varicam HS will use Panasonic’s new expressP2 card for high frame rate recording (frame rates above 60fps). The camera recording module unit is equipped with a total of four memory card slots, two for expressP2 cards and two for microP2 cards. The new 256Gbyte expressP2 card can record about 32 minutes of 240p 1080 HD video. The microP2 card is designed for recording HD at more typical production frame rates.

Addressing the need for high-speed file exchange, the Varicam HS encodes high-resolution proxy files in parallel with higher bandwidth production formats, enabling fast, efficient offline editing.

Professional interfaces include: RGB4:4:4; a 3G-HD-SDI out to support 1080/60p, an HD-SDI out for monitoring; and two XLR inputs to record four channels of 24-bit, 48KHz audio. A multi-connector facilitates docking the camera head to the recording module. In another innovative design addition, the Varicam HS boasts a removable control panel to facilitate real-time control and easy menu access when the camera is in a fixed or remote position. The camera’s 2/3 type B4 lens mount enables use of a remarkable variety of prime lenses and servo zooms, lensing possibilities simply not available on larger formats.

VariCam35-web2

The Varicam 35 4K camera/recorder incorporates a newly-developed super 35mm MOS image sensor and AVC-ULTRA family of video codecs. The new camera’s superb image handling in multiple formats including 4K, UHD, 2K and HD make it an unparalleled tool for high-end filmmaking, and commercials and episodic production as well as live 4K events.

The Varicam 35 innovative design, includes  the 4K camera module unit  (AU-V35C1), recording module unit (AU-VREC1), which is also interchangeable with Panasonic’s new 2/3 type camera module unit (AU-V23HS1). Enabling professionals to switch between s35mm and 2/3 type camera heads to best suit their creative needs.

The Varicam 35 utilizes a new Panasonic super 35mm MOS sensor for 4096 x 2160 (17:9) 4K image capture; this imager when combined with the AVC-ULTRA codecs for 4K enables very manageable and practical 4K production file sizes. The new imager boasts an impressive 14+ stops of latitude, and faithfully captures high-contrast, wide dynamic range imagery without compromise. Powerful colour management capabilities provide a much extended colour gamut for impeccable image fidelity, and permit support for an Academy Colour Encoding System (ACES) workflow for full fidelity mastering of original source material.

Among the camera/recorder’s top-level production features are real-time, high frame rate, variable speed 4K recording up to 120fps*1, proving the capability for master level 2K/FHD recording; and advanced workflows with parallel simultaneous 4K/ UHD, reference 2K/HD and proxy recordings for in-camera on-set colour grading and monitoring / editing ease.  The camera also features a newly-developed OLED electronic viewfinder (EVF) with optical zoom functionality. Lastly, 24-bit LPCM audio is added for in-camera audio master recording.

The Varicam 35 will deliver an unprecedented breadth of recording formats, including 4K and UHD in AVC-ULTRA 4K, and 2K and FHD in AVC-Intra 100/200*2. Addressing the need for high-speed file exchange, the camera encodes proxy files in parallel with 4K and 2K production formats, enabling fast, efficient offline editing. It also includes Apple ProRes 4444 and ProRes 422 HQ*3 support for HD recording. The ProRes codec component is licensed from ATOMOS Global Pty. Ltd., which has shipped ProRes recorders for years.

The Varicam 35 will use Panasonic’s new expressP2 card for high frame rate and 4K recording.  The camera is equipped with a total of four memory card slots, two for expressP2 cards and two for microP2 cards. The new expressP2 card can record up to 130 minutes of 4K/24p content.  The microP2 card is designed for recording HD or 2K at more typical production frame rates.

Professional interfaces include: 3G-HD-SDI x4 for 4K QUAD output; 3G-HD-SDI x2 for RAW output; an HD-SDI out for monitoring (down-converting from 4K); and two XLR inputs to record four channels of 24-bit, 48KHz audio. A multi-connector facilitates docking the camera head to the recording module. In another striking design innovation, the Varicam 35 boasts a removable control panel to facilitate real-time control and easy access when the camera is in a fixed position. The Varicam 35 features a standard 35mm PL mount.

For all your video production needs in Scotland, get in touch with Small Video Company Ltd

IBC Day ONE…Sony steals the show

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Sony-steals

What a start to IBC 2014 with Sony pulling the FS7 out of the hat…this is the 4K/HD camcorder of 2014…poor Panasonic with their VariCam just coming to market having to fight off the FS7 is going to be a major headache for not only them but Canon. Who in their right minds will buy a C300 or C500 with this £8000 Sony FS7 on offer and that includes the 28-135mm f4 servo zoom lens.

For anyone who did not watch the live stream from Sony this morning the Sony F5 is to be FW updated to allow 4K internal recording which is no surprise after announcing the new FS7.

Don’t take it from me here are some sage words from a fellow blogger Matt Davis…

Matt Davis “Sony won it. They aced it. The S35 sensor e-Mount PXW-FS7 is the ‘camera of IBC’. What isn’t there to love? 4:2:2 10 bit internal recording at HD and 4K, 180fps for HD slomo, great ergonomics, every element of camera ownership carefully throughout.

So sorry, JVC and Panasonic – 1/3″ sensors just don’t cut it any more. 1″ is good – 2/3″ is a widely supported format for lenses. It comes down to this: if you have a camera that does less than 2/3″ sensor (x3) and does less than 4:2:2 at 10 bit, you’re toast.

Why didn’t Panasonic put a GH4 in an AF101 body? Why is JVC mucking around with 4K on small sensor sizes? Who wants a 100 ISO camera?

Canon is dangling in the wind. If anyone is considering a C100 or C300, they are duty bound to look at the FS7 now – for the internal 10 bit acquisition, for the 4K option, for the variety of e-mount lens options, for the superlative ergonomics – why would you not?

Even the audio – FS7 offers 4 channel 48KHz 24 bit recording. All the way, Sony’s PXW-FS7 is as exciting and as game changing as the EX1 and the FS100.”

IBC 2014: News Shooter – Sony FS7 from Teradek on Vimeo.

For all your video production needs in Scotland, get in touch with Small Video Company Ltd

First footage with the Sony PXW-FS7

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Den-title

Den Lennie “I never ever take it for granted when an opportunity to shoot a Launch video for a new camcorder presents itself.  It’s great to be the first hands on new technology and provides a chance to give feedback to the engineers directly.  I started shooting professionally in 1994 and so have been making my living in and around cameras for over 20 years.  Much has changed and continues to, but for me and my team, the camera remains at the core technology  that we use to tell stories with and so working with cutting edge technology is always fun.”

Crew-FS7

We made 3 films in total.  An HD film, a 4K film and  a BTS film.  We had 3 days of location scouting and camera testing followed by a 4 day shoot (2 days a piece for each the HD and 4k productions) and then 7 days of post in Tokyo.  So all in all a pretty tight turn around.

Here’s the BTS film which explains more about the camera.

 

Sony Professional: BTS with the PXW-FS7 and Den Lennie from Sony Professional on Vimeo.

 

Link to full story on Dens FStop web site  http://www.fstopacademy.com/blog/shooting-the-sony-pxw-fs7-launch-videos/

For all your video production needs in Scotland, get in touch with Small Video Company Ltd

NEWS from IBC 2014..Sony PXW-FS7 £8,400 with 28-135 f4 lens

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FS7

Sony has today launched the PXW-FS7, the first 4K XDCAM camera to feature a Super35 CMOS sensor. Capable of shooting in 4K Quad Full HD  (QFHD) and super slow-motion Full HD, the latest member of the XDCAM family has been designed for documentary, music video, online content creators and corporate filmmakers looking for beautiful picture quality and an unrivalled choice of recording formats. The 11.6 million-pixel Super35 ‘Exmor’ CMOS sensor within the PXW-FS7 delivers stunning sensitivity, shallow depth of field, a high signal-to-noise ratio and fantastic low light performance. The camera has the ability to record QFHDi with 4:2:2 10-bit sampling up to 600 Mbit/s, with support for a variety of recording formats including XAVC Intra, Long GOP, MPEG HD422 and Apple ProRes 422 available early 2015 by firmware update.

FS7-v2

Key features of the PXW-FS7

Super35 ‘Exmor’ CMOS sensor with 8.8 million-effective pixels. The PXW-FS7 is able to capture great image quality without needing significant lighting support. It has high-speed image readout characteristics, such as 240 fps while recording 2K RAW on an external recorder, responsive sensitivity (ISO 2000) and a high signal-to-noise ratio. The PXW-FS7 supports QFHD up to 60 fps at launch, with an upgrade to 4K 4,096 x 2,160 resolution due to be made available in early 2015.

Flexibility across recording codecs. The PXW-FS7 is compatible with Sony ́s new XAVC Intra and XAVC Long GOP formats, each supporting 10-bit 4.2:2 recording for Full HD recording. Recording in QFHD resolution, SlowMotion up to 180fps or even Full High Definition with 60/50 progressive frames is possible. By using the optional extension unit XDCA-FS7, the PXW-FS7 is capable of natively recording in Apple ProRes 422 codec, planned to be available in early 2015 by firmware update. In addition, thanks to the XDCA-FS7’s Raw interface, the PXW-FS7 is capable of 4K/2K Raw recording with Sony’s HXR-IFR5 and AXS-R5, or with a compatible third-party external recorder.

4k-no-lens

A vast range of creative choices. The PXW-FS7 features 2 XQD card slots that support simultaneous recording and relay recording. The camera includes a low-pass video filter, progressive pixel reading and advanced camera processing, enabling a broad span of creative treatments, and benefits such as high speed recording, high resolution, high sensitivity, less aliasing and less rolling shutter. To support FS7’s S&Q motion and internal 4Ki recording, a new XQD G series with ultra-high speed transfer up to 400MB/s (read) and 350MB/s (write) has been developed. The XQD card G series is designed specifically to further enhance the PXW-FS7 workflow. In parallel, the camera’s built-in ND filters offer exceptional shallow depth-of-field, allowing users to further expand their shooting styles without requiring external ND filter equipment. S-Gamut3/SLog3 & S-Gamut3.Cine/SLog3 are supported for flexibility of post-production options.

Easy mobility and choice of shooting style. Sony has also today introduced the VCT-FS7, a light-weight rods support, featuring 15mm rods and an adjustable shoulder pad. This enables the use of additional Matte boxes, the easy attachment of Follow Focus systems or of an external recorder. In addition to the on-shoulder operation, the PXW-FS7 can also be set-up on a tripod and as a handheld camera. The supplied handgrip provides easy access to relevant functions αMount System enables auto exposure and SteadyShot stabilization during shooting.

Sony-28-135mm-zoom-HDW

The PXW-FS7 uses the E-mount lens system and comes supplied with a new E-mount lens FE PZ 28-135mm F4 G OSS (SELP28135G), which is the world’s first 35mm full-frame interchangeable power zoom lens i.. The new E-mount powered zoom lens features constant F4 value, independent rings for Iris, Zoom and Focus control and is dust and moisture resistant. The SELP28135G has steady shot stabilization, minimum focus breathing and is enabled with Sony’s new SSM (Super Sonic wave Motor) to reduce zoom and focus noise while shooting. Furthermore, Sony’s optional LA-EA4 A-mount lens adaptor allows compatibility with a wide range of high-quality A-mount lenses, benefiting from the PXW- FS7’s auto-focus function for quick and convenient operation.

Pics-FS7

For all your video production needs in Scotland, get in touch with Small Video Company Ltd

NEWS from IBC 2014…JVC GY-LS300 4K handheld camcorder

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JVC-GY-LS300-4K

GY-LS300 compact 4K camcorder

A prototype model of the new GY-LS300 compact handheld camcorder is being shown at IBC, featuring JVC’s exclusive Super 35mm 13.6MP 4K CMOS image sensor, developed by JVC’s sister company, AltaSens, for 4K 24/25/30p recording. The camera uses Micro Four Thirds lenses, originally developed for DSLRs to deliver cinema-quality images in a compact camcorder, and also accepts a wide variety of stills and video lenses for filmmakers who have already invested in expensive lenses (converters available for PL-mount and other lenses). This first prototype has an advanced codec and onboard recording system, providing 4K imaging on standard SDHC/SDXC UHS-I U3 memory cards, and its dual codec system also delivers simultaneous recording and streaming for both HD/SD and HD/proxy files. The camera features the 4K CAM logo and marks the start of this new camera series from JVC.

For all your video production needs in Scotland, get in touch with Small Video Company Ltd

IBC 2014

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IBC-2014

Amsterdam RAI is the place to be from the 12th of September if you want to see all the new gear from Sony, Panasonic, JVC, Canon, BlackMagic to mention a few.

RAI

PanaVARI

Panasonic will be showing off their new 4K VariCam as well as the new HC-X1000 which I am told comes from Panasonic consumer as well as the GH4.

4K-Panasonic

 

PXW500

Sony will have the new PXW-X500 broadcast camcorder and the PXW-X70 hand held 1″ camcorder as well as the A7s and the new FS7 4K camcorder more details later today.

pxwx70_side_one

 

850-full-pic

JVC will be showing their new GY-HM850 camcorder with live streaming capabilities.

More news and details to follow from IBC 2014.

 

 

For all your video production needs in Scotland, get in touch with Small Video Company Ltd

Ikegami HC-HD300 camera

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Ikegami-HC-HD300-front

 

Ikegami has chosen IBC2014 as the venue for the introduction of the HC-HD300, a compact and aggressively-priced high-definition camera designed for a wide range of applications. These include satellite and cable television presentation studios, independent programme-making, training studios and religious television channels.

The HC-HD300 is equipped with a 1/3 inch bayonet lens mount and employs three 1/3-inch CMOS progressive-scan sensors, each with 2.2 million pixels, in RGB prism formation. It delivers high quality pictures in all commonly used HD video formats: 1920 x 1080/59.94i, 1920 x 1080/50i, 1280 x 720/59.94p, 1280 x 720/50p and 720 x 480/59.94i (NTSC), 720 x 576/50i (PAL).

Typical performance characteristics of the HC-HD300 in 1080/59.94i output mode are 1,000 television lines horizontal resolution, 58 dB signal-to-noise ratio and 2,000 lux sensitivity (89.9 per cent white reflection) at F10 aperture. Equivalent aperture in 1080/50i mode for this light level is F11.

Camera gain be attenuated from mid level to -3 or -6 dB, or increased by +3, +6, +9, +12 or + 18 dB. Integral neutral density filters (100 per cent, 25 per cent, 6.2 per cent and 1.6 per cent) can be switched in as required, plus operator-selectable 3,200, 4,300, 6,300 and 8,000 kelvin electronic colour conversion. An electric shutter can be set to 1/100, 1/120, 1/250, 1/500, 1/1,000 or 1/2,000 second speed.

The HC-HD300 weighs 4.5 kg including FA-300 fibre adapter and measures 139 x 270 x 337 mm (width x depth x height). Operating voltage range is 11 to 16 volts and power consumption (excluding FA-300) is 19 watts. The camera is designed for use within an ambient temperature range of -20 to +45 Celsius and 30 per cent to 90 per cent non-condensing operating humidity.

Available options include the newly-developed FA-300 fibre adaptor and BSF-300 base station. The HC-HD300’s output cable is fitted with a Neutrik opticalCon Duo connector to provide efficient protection against dust. Up to 250 metres of cable can be connected direct to the camera, extendable to 10 kilometres by using external power.

Supporting features of the HC-HD300 include the focus assist and lens aberration correction functions employed in Ikegami’s established UnicamHD range of cameras.

The Ikegami HC-HD300 will be deliverable from December 2014.

Details of the full Ikegami range of broadcast cameras can be seen at http://de.ikegami.co.jp/products/broadcast/camerasystem/

Ikegami’s Broadcast and Professional Video Division will exhibit on stand 11.A31 at IBC2014, RAI Amsterdam, September 12-16. Company representatives will include Masanori Kondo (President, Ikegami Europe), Peter Grimm (General Manager, Broadcast Business Development) and Michael Lätzsch (Broadcast and Professional Video Division Manager).

Ikegami-HC-HD300-rear

For all your video production needs in Scotland, get in touch with Small Video Company Ltd

Five figure sum for using copyright music online !

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Joe-v2

Copyright infringement can be a costly exercise and for one young American wedding videographer it nearly cost him his business…

Ron Dawson of Dare Dreamer Magazine…

“One of the first questions a “new born” wedding videographer will undoubtedly ask is “I have this bride who wants to use [insert popular music artist of the day] for her wedding video. Can I use it if she gives it to me?” Or, “Can I use it if I buy it on iTunes?” Or some version thereof. Just for the record. The answer is unequivocally “NO!”

Well. Maybe I’m being a tad melodramatic. But, I am not embellishing when I tell you that on one Facebook group, there are hundreds and hundreds of posts about this topic.

Shannon_Steven-slide

Hi Joe. Was this super viral video the straw that broke the camel’s back?

I can’t discuss the details of the suit, but it is real. I did have a video that went viral, we had used a very popular song on it, someone saw it and brought it to the attention of the labels legal team and from there they came after us. Getting that letter in my inbox and as a fax was super scary. You always here “they’ll just send you a cease and desist letter and you take it down” and I always thought that would be true. But the letter that came through and they wanted a lot of money for damages, it the tune of $150,000 for one song. If that didn’t scare you straight I don’t know what would. I spent the next month or so going back in forth with the label to reach a settlement, it was a huge stress on my business and my life and I would never wish this on anyone else. I can’t say what we settle for but it looked like this $XX,XXX , which is a LOT of money for a small business.

What are the top 5 tips or things you’ve learned, that you can teach those wedding videographers out there when it comes to using legally licensed music?

1 – Read the fine print for the sites you are buying music from, each is very different and you want to make sure you are not violating their restrictions. Because if you do you are right back where you started, using music illegally.  Some have only one year licenses and others 5 year licenses. Always read the fine print.

2 – Educate your clients about the laws of music copyright.

3 – If you are using multiple music licensing sites make sure to check them all, they may have the same song and one could be cheaper than the other.

4 – Don’t just settle for the popular songs on the licensing sites, dive deeper into it and find the more obscure songs that will have the best impact on your audience.

5 – Make suggestions to the music licensing sites, they would love the help in finding music that you love to use and chances are they can get the songs for you! They can’t read your mind, help them get better music for all of us.

Read the full story at Dare Dreaming.com

http://daredreamermag.com/2011/12/07/the-music-licensing-chickens-have-come-home-to-roost-in-wedding-and-event-videography/

PRS

On the back of this I decided to phone PRS, PPL and MCPS to get a handle on this problem…

PRS told me that a wedding is a personal event and so is the music played on the day, the key information here is that no one pays to watch a wedding but if you use copyright music i.e. over the photographers section it only becomes a problem if it is posted online.

That sent out some very strange signals to me but remember there are two further companies involved in this copyright music mess.

A children’s dance show hits a different set of criteria because the parents pay to watch the show you will need to buy a licence from MCPS.

PPL

If you want to record music being played at a wedding you must have one of these licenses…A PPL licence can be purchased from the Institute of Videography (IOV)

IOV “This licence is issued on behalf of the Record Company and the Performers, and enables you to record their music in actuality (such as that being played by a DJ at a wedding reception) and to dub music on to the wedding video in post production.  The licences are in the form of holographic stickers which must be applied to all DVD copies of the video.”

For a five DVD wedding you are looking at £20.50

For a 50 DVD dance show you are looking at £62 per show !

MCPS

IOV “This licence is issued on behalf of the Composers and Publishers, and enables you to record and dub their works (music score and lyrics). Each event or production will require a separate licence, and the cost is governed by the number of copies being made of the original – and the duration of music included.”

For a five DVD wedding you are looking at £15.32 up to 25m of music used per production.

For a 50 DVD dance show you are looking at £85.79 for a two hour show.

So there you have it a 2014 up to the minute look at keeping your video production company legal especially if you produce live events like weddings, dance and stage shows. My advice is to stick to non copyright music at all times unless you have a good reason or a client who is willing to pay big bucks for copyright music, especially on corporate videos and anything online.

The Institute of Videography give special pricing for PPL and MCPS licenses  http://www.iov.co.uk/showarticle.pl?id=4202;n=918

 

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