Even though inflation has slowed over the past six months, there are numerous alarming red flags today, including the price of eggs, the United States approaching its debt ceiling, and job cuts in the computer sector.

Those in control of the marketing and advertising budgets are clenching their nails in dread over it. However, despite budgetary constraints, there is still a high demand and anticipation for creative output.

However, a tighter budget need not restrict your creativity or idea. In reality, there are countless creative possibilities when using authorized movie clips.

By providing a carefully curated catalog of cinematic material created by a roster of celebrated directors, Filmsupply has worked to set itself apart. Content has been produced using Filmsupply’s exclusive catalog by companies like Apple, Nike, and Mercedes-Benz, as well as by firms like Anomaly, Ogilvy, and Wieden+Kennedy.

For instance, in April 2020, the technological writing assistant business Grammarly contacted Stink Studios to collaborate on three distinct campaigns. According to senior creative producer Michael Quinones of Stink, “We weren’t doing in-person shoots at the time, and licensed footage was a really viable option that keeps the aesthetic and the quality standard as if we had shot it ourselves. Quinones described it as a “natural, delightful surprise” that the Stink team was able to give Grammarly despite never having produced a complete stock campaign using Filmsupply footage.

It’s essential to remember that the video content on our site wasn’t produced with the intention of being “stock,” so the production value is much higher. Additionally, monopoly is a possibility. Filmsupply provides customized levels of exclusivity that can take into account factors like the time, industry, particular scenes, and more. The only real difference between producing something yourself and solely licensing it is the cost.

Each clip costs thousands of dollars in labor, materials, rental fees for equipment, bookings, and—most importantly—snacks, according to Ian Watt, assistant creative director at Stink. “With just one click, I can profit from all of that.

When using premium licensed video in your creative, take into account the following best practices:

  1. Work to maintain a filmmaker’s continuity.
    The Grammarly team used the footage to help tell the story of these central characters after discovering director and cinematographer James Ballard’s catalog, which contains the biggest collection of footage of two people together.

“It’s as if we hired Ballard to help us produce this spot,” Quinones said. “We have a very high expectation about the work that we put out across the board. The quality of the material really matters, so being able to have a bank of material to work from, by other filmmakers who have a similar type of approach to filmmaking, is an incredible opportunity.”

  1. Infuse narrative with emotion.
    When Eddie Vedder, the band’s lead singer, heard the first cut of the music video for Pearl Jam’s song “Dance of Clairvoyants,” he demanded Evolve Studios create three videos instead of just one. The crew was able to produce a visual interpretation of the lyrics using “micro stories” by fusing Filmsupply footage with live performances from the band.

“Every image needed to evoke some kind of emotion,” said producer Joe Bastien. “If you do it the wrong way, it just looks random. But, if you prepare the right shots together and have all these little stories, it actually starts to create something.”

  1. Give your idea more production value.
    Nas’ “Ugly” music video was originally going to be a single continuous shot of him and his pals driving around New York. The Steadicam footage was unsteady, which was unfortunate. Editor Matt Carter decided to use this as a chance to be inventive rather than reshoot.

“My first move was pulling some exterior shots and driving POVs as cutaways, so the whole thing still felt like a shot narrative of them driving,” he explained. “Then I decided I could use Filmsupply footage to show more literally what was being discussed in the dynamic lyrics at this lightning pace. Next thing you know, it’s basically the entire video.”

  1. Curation is crucial.
    One of the more challenging aspects of our job is curating our roster of more than 700 filmmakers, directors, and directors of photography. This gives our footage research team a ton of choices, so be sure to give them your brief and let them loose. One of the most underappreciated facets of our company is the support we provide to all of our large accounts without charge.

Premium licensed footage from the same caliber of talent comes in a close second, particularly in difficult economic times, to the value, artistry, and creativity of freshly shot content from top-tier filmmakers.


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