Wonder Woman, a female super hero from the 1940’s is coming back to the big screen.
Originally of Amazonian descent, she possesses a number of skills in strategy, hunting and combat. She was meant to be both physically and intellectually strong. Her creator, the American psychologist and writer William Moulton Marston, drew a great deal of inspiration from early feminists and especially from birth control pioneer Margaret Sanger.” (source: Wikipedia)
The film Wonder Woman seems to have courted some controversy in regards to their partnership with ThinkThin protein bars.
Being thin does not make wonder women, their will, strength, determination and courage is what makes them.
At Framepool, we are proud to present to you OUR wonder women. Some of them have left a mark in history by daring to go against the odds, but they are also regular gals who are fearless, strong, dedicated, driven, passionate, determined, and above all, are not defined by a number on a scale or the size of their waist.
Here the complete shotlist from our wonder women collection.
As of Mai 2015, Framepool joined the list of official Omnicom vendors.
Omnicom Group, Inc. is an American-based global marketing and corporate communications holding company, headquartered in New York City. In 2014, Omnicom was considered the second largest advertising holding company by The Wall Street Journal. [Source: wikipedia]
Framepool the stock footage company run by filmmakers, provides high-end content, shot by the cinematographers worldwide, using the most up-to-date equipment (Red, Alexa, F65 etc.). Our website presents over 850.000+ clips for immediate online licensing.
Additionally, we offer full support and services like free research and rights clearances services. Given our close relationship with footage suppliers, we can go beyond an online search and look into our offline archive or tap into our global resources for you. Note that our website is available 24/7 for e-commerce licensing.
We don’t spare efforts or petabytes to offer you quality without compromise. So you can count on the best aesthetic base for your production in the edit.
Why bother having the best footage or the greatest cinematographers, if the valuable material gets treated badly? At Framepool we guarantee that any original quality is preserved and the material will be passed onto you the way it was supplied:
10 bit stays as 10 bit – 12 bit is maintained as 12 bit
We always store incoming footage material in it’s original resolution, with no haggling for bits or bytes! Framepool is the only stock footage provider who deals with chroma subsampling in 4:4:4, if the original footage material has been shot in raw or 4:4:4. The entire original colour information of a clip is always preserved within the workflow of our footage archive and can be delivered as such through our master play-out process.
So if a clip has been filmed in top quality on Red or Alexa, you can be sure we’ll provide it to you in the same stunning quality 1:1. And to make sure that our clients will have their specific production needs met, we always archive the corresponding raw files to our colour corrected ProRes footage masters.
There are many free options to choose from within our master playout process, for instance:
• a variety of frame rates,
• delivery in original resolution,
• additional choices for common codecs as needed in post, for example Apple ProRes and Avid DNxHD.
We are also happy to deliver you the raw material, or we can arrange for some internal post work like de-graining and dirt removal when it comes to scanned film material.
We guarantee you more flexibility for color grading and compositing! The result is – post production your way!
WHAT DO FILMS WITHIN FILMS COST?
If you want your characters to watch television, say something like a sports event, then the rights to the players, team or stadium have to be cleared – if the players, team or stadium are recognizable – just as they would have to be cleared if the footage were to be shown filling the entire screen. Note:
- As all the royalties and licences for films within films have to be cleared in just the same way as footage destined for direct use in a film, the rights clearance costs are identical.
- The fees for the third party rights will depend on the individual rights holders; they may well be lower if the rights-holders prove accommodating.
- As a rule of thumb, backdrop/playback licence fees are lower when the footage takes up less than half of the screen in the film.
If you don’t need a particular scene to be recognizable to viewers, you may be able to avoid the need to clear and license third-party rights by, for example, changing the colours on team jerseys or blurring any brands which appear. But be careful with famous sporting episodes or film scenes, signature moves, audio clips, and so on – anything that is recognizable needs to be cleared, even in cases where only genuine experts could identify a scene, person etc.
We can assist you with this issue we deal with regularly and give you tips on how to reduce the royalties and licence fees payable. Simply ask your personal advisor on the Framepool team >
A marvellous Amy Adams has to handle close encounters of a different kind in the intelligent SciFi thriller “Arrival”. This alien invasion story with a difference directed by Denis Villeneuve focuses on a linguist tasked with understanding the language of the invaders. But that isn’t the only mystery… Go to the cinema! You will also enjoy encounters of a more familiar kind: with footage from Framepool.
Many people find themselves in the same situation as our nice little family: old personal films are stored somewhere, but unviewable without the right equipment. Framepool has the solution: we can scan your films and review the material. If our experience tells us it could prove successful on the market, we will incorporate it into our archive and Framepool’s quality keywording will ensure it can be found.
As well as rescuing old films from oblivion, this means that they can, with a bit of luck, also provide you with some extra income.
Discover more about Framepool film rescue at email@example.com
Denise Pache | | General, Stock Footage Highlights, Technology, Zeitgeist – Vintage Film | archival film, film scan, historical Footage, private film collection, quality keywording, Stock footage | 0 Comments
As some of you may perhaps know already, the enterprise Broadside Enterprises, Inc. from Los Angeles is now backing Framepool. The new investor plays an active role in the Hollywood film industry. “We will open up exciting prospects for Framepool in the largest film production market in the world,” says Christopher Petzel, CEO at Broadside, who hails from Germany. “And we will develop new products together and tap into new markets to achieve significant growth.”
As is currently happening in China: we have been working non-stop on the Chinese version of our webshop over the last few months, and it has just gone online.
Have a look: Framepool webshop in Chinese
More exciting projects are in the offing – we will keep you posted!
Everybody on Earth should see the film “Before the Flood”, the National Geographic documentary on the consequences of climate change made by Oscar award winners Leonardo diCaprio and Fisher Stevens (director). Starring Ban Ki-moon, Bill Clinton, Barack Obama, Pope Francis … And our footage, of course – anything else would be unimaginable given Framepool’s longstanding focus on this area!
Founded in 2001, the German stock footage agency is now a global market leader with more than 800K film clips online / Framepool supplies HD / 2K / 4K footage and boasts the second-largest global portfolio of high-quality Rights Managed footage
“As filmmakers, we always found it really frustrating that finding good footage was so hard. That was how we came up with the idea, back in 2001,” CEO Stephan Bleek recalls, “of making work easier for ourselves and our colleagues by setting up an Internet portal to bring people together – the people looking for absolutely excellent film material and the people who have precisely that to offer.” Framepool began work on a visionary database that would draw on the most modern digital technologies to make finding and licensing footage easier and more creative.
Today, 15 years later, Framepool is the largest footage agency in Europe. Its inspiring archive is packed with exciting current, historical and futuristic video and film footage. Simple or opulent, serious or humorous, scientific or creative – we have it all. The ability to license individual still images from every shot (one still per frame) is unique and valuable in the context of the increasing significance of cross-media projects.
“Often five to ten times more material is shot during the making of a film than is ultimately used in the final project. The leftover material is often of excellent quality, and we archive it in our database”, Stephan Bleek explains. Finding stock footage is easy, as shot lists organised by topic can be created for free in the Framepool webshop and a comprehensive research service is available. Customers can directly license the material they require online. Framepool’s customers are filmmakers in the fullest sense of the word: feature film producers, documentary makers, advertising agencies, TV broadcasters, producers of corporate image films, event promoters, and institutions like museums. Stephan Bleek remarks that Framepool stock footage was used “in the most recent James Bond film, for example” and that “our material can be found in television documentaries, award-winning advertising spots and everywhere video is used.”
In addition to 20 employees in Munich, the company also has teams in Paris, London, Zaragoza, New York and Los Angeles as well as distribution partners in all key world markets. The founders are, however, quick to emphasise that Framepool still has a close-knit small-company culture. In the words of Stephan Bleek: “We communicate directly and personally. We process all our material by hand – and our keywording is also performed by people, not by machines that cannot pick up on the emotions images convey. This allows us to offer qualitatively excellent footage that can be found through optimal keywording.” Professional documentalists working in six languages categorise images on the basis of the associations they evoke as well as by their content – and a seventh language will soon be added. The in-house Rights Clearance Department takes care of securing rights of use and third-party rights around the world and for all uses and purposes.
Stephan Bleek has a doctorate in history and curates a special category of historical videos that includes collections occupying a prominent place in film history: the videos of American cinematographer Shirley Clarke, German “Heimatfilms” from the 50s, and rare footage of Adolf Hitler’s personal life shot by Eva Braun. Framepool also has the largest available selection of Unesco World Heritage videos.
“We also have an excellent international network and connections to all the major archives. That means we can get hold of practically any material we don’t already have in our digital library”, Stephan Bleek adds.
“Exclusiveness, legal certainty, customer service, quality and fairness towards our customers and licensor are all top priorities for us at Framepool”, Stephan Bleek stresses. And of course the archive is still forging ahead with new plans even after 15 years: “We want to expand within our industry by also supplying photographs, for example shots taken on set during the making of films. Many of our film suppliers also have very exciting photo collections which we will soon be able to offer to our customers as an additional service.”
Framepool AG was founded in 2001 by filmmakers Ulrike Ziegler and Dr. Stephan Bleek and media lawyer Dr. Jürgen Wente. Today, Framepool employs 27 people from 6 nations and belongs among the leading global providers of digital stock footage.
Framepool boasts an archive containing over 800,000 film clips including HD, 2K and 4K footage, aerials, animal films, cityscapes and landscapes from around the world, news clips, sport and lifestyle footage and historic film material. More than 6,000 hours of footage are available online. Rights Managed (RM) and Royalty Free (RF) footage can be licensed online.
Use of the most modern digital technology for saving and presenting film images has led to the creation of a collection which is continually augmented with fresh new material from around the world by more than 800 filmmakers, media enterprises and film producers.
Susanne Lehnert | | General, Press Area | 2K, 4K, 4K Ultra HD, corporate video, Europe, film maker, footage, Framepool, HD, London, Munich, New York City, Paris, Research, Rights Managed, Royalty Free, Service, Still, stills, Stock footage, Third party rights | 0 Comments