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Research: The Ups & Downs
by Margaret Grossi and Mark Condron
You have a story to tell, you need to find compelling images to go along with the story, you are on a budget and the clock is ticking.
Welcome to the wonderful world of television footage research. Whether you are a seasoned journalist or just starting out, at some point you will have to contact a footage archive to find your shot. Where do you begin? How many archives should you visit? Will you do your own research or will you hire someone at the archive to research for you? The answers depend on two things - your focus and your budget. Do you have the money to spend on research, dubbing, or licensing fees? Are you working on an hour-long documentary or an 11-minute magazine piece? Do you have a specific subject or multiple subjects to focus on?
How to begin
Put together a "wish list" of footage and photos you will need for your piece. Start with the internet. A great site to look at is footage.net. A good starting point to see what is available to you. It lists many footage houses AND you can create a ZAP request. It is free and sent to dozens of the world's largest footage sources. They will get back to you directly if they have content that might meet your needs.
Once you contact an archive - be specific
A search to locate "the best shots of women athletes" is a sure way to gain the slow response from an archivist. Instead, send a more specific list. Research the names of top female athletes and the years they competed. The more homework you do, the easier it is for the archivist and the more willing he or she will be to fill the order quickly.
Think outside the box
If you need images to support a piece on "skiing dangers" and you only request shots of skiers crashing, you are going to get shots of skiers crashing. What about danger signs or ski patrol shots that you will need to fill out your story? As we have mentioned, being specific is good but DO NOT limit your possibilities. Cast a wide net, throw paint on the wall and see what sticks, use any idiom you like but make sure you include as many images as you think you are going to need. The more you can clue your researcher into your needs the better.
Spell stuff wrong (really)
Check your spelling. Make sure it is right. But if the archivist is not coming up with anything, suggest misspelling the name and plugging that into the computer. You would be surprised how many loggers spell 1968 Olympic gold medallist Peggy Fleming with two M's. And do not get us started on Fred Biletnikoff or Mario Lemieux.
Follow the bouncing ball
The footage sales business is ever changing. Vendors buy other vendors, some rename themselves. Keep your list of vendors updated and handy and try spreading the challenge around by hitting a variety of archives/vendors.
Know your source
Find out who owns what. Again, use the net or simply call the vendor and ask. But remember, no matter where you "get" the footage, you still need to license it from the person who "owns" the footage. For example, if you need a shot of Michael Jordan playing for the Bulls, there is only one place to license it - the NBA. So if the Jane Doe Library or Joe Cameraman have their own tapes of Jordan playing and they offer the footage to you, take it but remember, you still must go through the NBA to license it.
Rule of thumb - anything that takes place on a playing field or court under the auspices of a governing body is fully owned by that federation and will require permission and fee.
Follow-up call
Give the archivist a day or so, then call and make sure they received your fax and are working on your order. Following up is probably the most important thing you can do.
Follow-up again
Pre-production planning is all well and good but sometimes scripts change and direction tilts and you need another shot to make your segment or feature sing. Amend your first "wish list" and send it again. Make sure the archivist knows this is a revised list. Communication is important.
Know what you are watching
Yes, we know. Logging a bunch of screener footage is not part of the glamorous TV career you imagined for yourself, but it needs to be done. Once you come to grips with that reality, go one step further - do not just log what you need, really go through it. Not only will you sometimes find compelling footage but you will also be aware of everything on the tape. Remember, a producer changes his or her mind about footage all the time. A good researcher is always one step ahead of the producer and his or her ever-changing script.
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