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Video edits 2017


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2 hours ago, leed17 said:

My question is this:  are the edits this year and in previous years due to the composers, songwriters, and publishers saying "NO" to the requests from DCI, or are they saying "yes" but the cost is just too high for DCI to afford and DCI makes the decision to cut due to that.  I have a feeling its more the costs are too high than DCI getting "no" answers...

It would be interesting to know this, because you could then see the composers and publishers who are charging astronomical fees for syncing their music to video.  I imagine DCI is not allowed to publish this, but it would be interesting...

I too am glad that at least the CD's appear that they will have most of the shows in full

 

If they're charging astronomical amounts of money, to me that's similar to saying "no"... it's like they're saying "I don't really value you spreading my work to a larger audience, but I guess if you are willing to part with this exorbitant amount of money I can take it off your hands for ya..." 

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13 hours ago, skevinp said:

I'm not talking about rights to past shows DCI thought they had based on an interpretation of existing licenses.  I'm talking about corps securing rights (including video, not just performance) before putting a show on the field to begin with.  Why can they not do that?

It's not clear to me why DCI was formerly able to begin negotiations for synch rights before the season was concluded but now apparently does not do so.

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11 minutes ago, N.E. Brigand said:

It's not clear to me why DCI was formerly able to begin negotiations for synch rights before the season was concluded but now apparently does not do so.

... I don't think they did before, and that was the crux of the crisis a few years back.

Mike

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Just now, MikeN said:

... I don't think they did before, and that was the crux of the crisis a few years back.

Mike

They definitely did in the case of "Empire State of Mind"--otherwise they wouldn't have known the rights were in jeopardy all summer long, when they kept not showing the video of that portion of Madison's show.

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9 hours ago, ouooga said:

This is the common criticism of this idea, and it's not wrong. But consider this: no corps plays music verbatim anyways, and even after someone (super talented) has arranged it, staff (other than arrangers/composers) make tweaks literally all season. We're at the point now where you don't even need an actual musical score by all days - just a framework that can be adjusted throughout the season.

You'd eventually just get decent composers and great tweakers (wrong word?) evolving within the drum corps activity, just like we have great visual techs and designers that have evolved over time.

Also with the rise of electronic music composers who can literally put together a 20 minute musical program in a few hours, combined with the rise in transcription software, writing an all original musical framework doesn't feel difficult at all anymore.

I love the idea, and I'm sure that great score writing talent would develop around the activity.  Cadets and Suncoast have made it work in the past.  There are so many great pieces of music that many people first heard in drump corps.  It was the "gateway" into classical music, jazz, and even opera.  It would be a shame to no longer have great pieces translated into drum corps.  Wouldn't it be nice if the copyright stuff were not so complicated?  Nostalgia...

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On 11/15/2017 at 5:13 PM, FaustianMachine said:

Odd question, but will the DVD edits carry fully to the CDs? I remember in 2015 that Game On had the ballad cut from the DVD but the CD still had all of it present. 

no. different rights

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On 11/15/2017 at 8:24 PM, Kamarag said:

 

I don't agree with that at all. I'm an arranger. They made it *much* easier for me to figure out what music I can write for my band, how much it will cost in rights, and how easy it is to get. They cut down my workload substantially, and the whole system is automated. Tresona has saved me, and the bands I write for, a lot of time and money. Tresona doesn't make the law...but they do give us an avenue to follow it correctly.

The fact that Tresona makes a buck off me and my band isn't something that bothers me in the slightest. There's a ton a value in the service they provide. They've also made it easy for me to sell my work to other customers, and for that I thank them.

 

You don't hate Tresona...you hate existing copyright law. And so do I.

and the activity can't afford the lobbyist bills needed to push change

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15 hours ago, ranintothedoor said:

The composers and song writers who say no to requests for sync rights are the ones losing out, I think.  I get it about the integrity of your art, and respect it, but drum corps has introduced many artists to me which has led to many a purchased album.  I don't blame DCI or Tresona... I think the writers/composers are being unwise in their insistence on artistic purity at the expense of their pocketbooks.  

Then again, there are principles that I wouldn't budge on too... so I guess it's just an unfortunate, unavoidable situation.  

The only way I see to avoid is if the corps themselves, while in the show design process, check beforehand to see if DCI would be able to get sync and mechanical rights BEFORE they put it in the show.  Then later, when DCI goes to get those rights, they will have success.  

except in some cases, it can take months to get the answers

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I'm surprised more corps did not have edits to their show. I'm not surprised with BAC and I think if not predicted last summer, many thought it would never make the final edit which is too bad since it was such a powerful moment and so well done. I half expected Cadets to have some issues since the Leonard Bernstein Foundation can be rather picky as many both inside and outside the drum corps world know (ask local theater and high school drama groups for their experiences). I was certain Crown would have issues.

As I write this I know blame is often placed with DCI, the corps, or both. I wonder if licensing is so subjective in some cases whether the problem can be solved. A friend of mine was contacted by a lawyer about a year ago. She developed an early childhood program about daily living skills that included a song about brushing your teeth. The program was included in a book and was copyrighted which included the song. A private school wanted to use the song in a promotional video and in order for it to happen, she had to approve its use and had the right to see the video, all for less than $3 in royalties! She could have said no for any reason. Now if a Kindergarten teacher who wrote a song over twenty years ago and had all but forgotten about it had veto power, can you imagine what authority  Chris Isaak (I assume he wrote "Wicked Game") and a major music publisher would have? I think with intellectual property it's hard to have a one size fits all policy.

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