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Interview with Rich Remsberg, on his work for the latest Netflix docuseries ‘Bobby Kennedy for President’

Netflix’ ‘Bobby Kennedy for President’ – we had the chance to catch up with the Archival Producer, Rich Remsberg releases of 2018.

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Archive Topics at Sheffield Doc/Fest 2018

Sheffield Doc/Fest is UK’s biggest documentary festival welcoming 32,700+ visitors each year, including more than 3,500 industry professionals from over

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Understanding Archive Footage Agreements

Licensing agreements can be hard to navigate and no two agreements at the same. We break down the components of common types of licensing agreements to help producers better plan their archival research.

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MIPDoc2018: Key takeaways from Archive Valley’s panel​ talk with James Hunt and Thorsten Pollfuss

Archive Valley was thrilled to attend MIPDoc 2018. The event, dedicated to non-fiction programming, hosts 700 participants from over 50

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Thinking the Future of Archive Research with Fabrice Héron

For French iconographer and archive researcher Fabrice Héron, the job of archive researchers is “at the crossroads between [that of] historian and journalist.” We caught up with Fabrice to learn about his latest work and hear his thoughts on the future of archival research in the television and film industries in France and beyond.

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SPOTLIGHT: 4 Archive-Driven Documentaries @ HotDocs2018

We have prepared for you a short selection of films from this year’s edition of HotDocs that we expect to

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Stock and Archive Footage: What’s the Difference?

We’ve all encountered stock footage whether in advertisements, or even in documentary films: ready-made footage that is used by a creator to illustrate part of a narrative or to create a certain aesthetic. However, though archive footage technically serves the same role, there are some fundamental differences between stock and archive footage that are important when trying to understand pricing, and the rights required to use the footage.

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3 Tips for Uncovering Amazing Archive Footage

More and more archive footage is becoming readily available to license from massive commercial film and photo licensing companies like Getty, Adobe, and many others, every day. Despite this, there are worlds of unseen footage out there, and fast-growing documentary audiences crave new ways to experience the past. Today more than ever, it is extremely important for content creators and archive researchers to diversify their sources to set their productions and storytelling apart.

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