Here, we have requested use of a copyrighted nuclear warning script produced by the BBC and read by the actor Harry Shearer.
Template of letter we have sent to several artists requesting the use of their work in our trailer:
Dear Richard Morris,
My name is Tom Mallinson and I am currently studying A level
Media, amongst other subjects, at Bacup and Rawtenstall Grammar School Sixth
Form in Rossendale, Lancashire. At present, my group and I have been tasked
with creating a trailer that we soon decided should be a post-apocalyptic
thriller. During the storyboarding process we all agreed that the use of the
song ‘’whatever song’’ by ‘’whoever’’ would be the optimum accompaniment to the
trailer as it will create the ideal melancholic ambience we are seeking/ as it
will embody the grit and action that we plan to implement in a fast paced
action montage subsequently followed by a crescendo. This will also exhibit the
degree of planning we have put into this coursework and prove we aren’t just
throwing in just any song into the mix. This is where we need you. The mark
scheme highlights that no copyrighted music is allowed in the production, other
than music that has been permitted by the publishers and has been shown to do
so. So ultimately, in accordance with the mark scheme rules, this email is just
myself, and my group, formally enquiring over permission to use the
aforementioned song in ‘’whatever section of the trailer’’ in our A2 level
coursework trailer. Of course, we will mention the songs contribution to our
final piece with full regards to copyright owners and publishers. In the event
that your company does not govern the rights of usage for this said song then
any help in navigating us in the right direction would be highly appreciated.
Thank you for your time to read this e-mail.
Yours faithfully,
Tom Mallinson.
Here, as you can see, we have edited the email appropriately to the band explaining why we like their sound, and how it fits in with our trailer:
Date: Thu, Oct 18, 2012 at 3:06 PM
Subject:
Dear If These Trees Could Talk (Booking/Management),
I
am Kieran Brooks and I am currently studying A level Media, amongst
other subjects, at Bacup and Rawtenstall Grammar School Sixth Form in
Rossendale, Lancashire. At present, my group and I have been tasked with
creating a trailer that we soon decided should be a post-apocalyptic
thriller. During the storyboarding process we all agreed that the use of
the song "Malabar
Front" would be the optimum accompaniment to the trailer as it will
create the ideal melancholic ambience we are seeking at the beginning of
the song whilst also embodying the grit and action, that we plan to
implement into quickly paced montages in the trailer, with the songs
stirring guitar and drum pieces. This will also exhibit the degree of
planning we have put into this coursework and prove we aren’t just
throwing in just any song into the mix. This is where we need you.
The
mark scheme highlights that no copyrighted music is allowed in the
production, other than music that has been permitted by the publishers
and has been shown to do so. So ultimately, in accordance with the mark
scheme rules, this email is just myself, and my group, formally
enquiring over permission to use the aforementioned song during the
middle and end sequence in our A2 level coursework trailer. Of course,
we will mention the songs contribution to our final piece with full
regards to copyright owners and publishers. In the event that your
company does not govern the rights of usage for this said song then any
help in navigating us in the right direction would be highly
appreciated.
Thank you for your time to read this e-mail.
Yours faithfully,
Kieran Brooks, Tom Mallinson and Max Lake
Kieran Brooks, Tom Mallinson and Max Lake
This is the response they gave us, saying they are happy for us to use their song.
As you can see from the above, we appropriately credited and informed them of the completion of our trailer. Therefore sticking to our end of the deal.
We also contacted the publisher rights for The Ink Spots classic ''I Don't Want To Set The World On Fire'', EMI Publishing. After a conversation with the Andre Carroll, the music licensing assistant of the company, we were informed that a fee of £200 would be attached if we exhibited our work on any public area, such as Vimeo. This of course didn't meet our needs as we have to publish our work onto Vimeo upon completion so regrettably we had to abandon the idea to use mellow 40's blues to both accentuate the melancholy of events in the film whilst also contrasting from the action.
