Dave Posted December 22, 2008 Share Posted December 22, 2008 Yep. I have learned far more about this issue than I ever thought necessary. Basically, it seems corps and DCI are going to have to pay bigger bucks to put music and video together. Not to mention a license status can change mid-process, as PR and DCI have now experienced. From the email I got from the director of marketing for DCI, it may be necessary for corps to start planning shows 18-24 months before any given season just to make sure they can jump through all of the legal hoops if they want to guarantee their shows are fully represented on the DVD's. It's ridiculous, but it's not really something we can change. Most of the time it's about money. There's no way DCI or a corps is going to pony up some of the astonishing sums asked for sync licensing. It's not a good business decision. "Hey, you non-profit youth organizations running on a very thin budget, you got $60K laying around for that 2 minute segment of music? No? Awwww too bad." DCI did not reveal to me what the specific license change for Phantom's show was. I'm not sure we'll ever really know the whole story unless someone internal to PR's process speaks directly to the question. As for the money required for licensing, it may be that alums and fans need to start a "capital" campaign just to help corps and DCI cover these costs. (truly, it's not "capital" in that it's not for a large purchase of equipment or real estate, but the money needed is just as big.) Well, and that's why this issue is so confusing to me. Most of the time it's not a composer that causes problems with mechanical licenses, it's usually some record company that wants a million dollars per second per copy that kills the deal, and I still haven't heard explicitly from someone who would know that this isn't what happened. I seem to remember somebody doing a Beatles show a few years ago that got left off entirely because of an issue like this. Quote Link to comment Share on other sites More sharing options...
kevingamin Posted December 22, 2008 Share Posted December 22, 2008 Well, and that's why this issue is so confusing to me. Most of the time it's not a composer that causes problems with mechanical licenses, it's usually some record company that wants a million dollars per second per copy that kills the deal, and I still haven't heard explicitly from someone who would know that this isn't what happened. I seem to remember somebody doing a Beatles show a few years ago that got left off entirely because of an issue like this. 2003 Kiwanis Kavaliers. Quote Link to comment Share on other sites More sharing options...
perc2100 Posted December 22, 2008 Share Posted December 22, 2008 So here is what I think is a legit question regarding this subject: Should corps ONLY perform music they can get synch. rights to, or should they go ahead and do whatever they can get the arranging rights to and let the DVD's have "holes" in their performances? This is not a new thing with WGI. It seems every year in every division in the percussion world there is at least one show that is missing music at some point and there is video only. It is distracting, but I guess I've gotten used to it. I will be curious to hear an A/B comparison of Phantom's performance between the unedited to the now edited version, to hear how "seamless" the edit is. But what do you think is more important: corps doing the best material they can to please judges, regardless if they can get synch. rights? Or corps ONLY doing material they can get synch. rights to, thus insuring the DVD's will be unmolested? Quote Link to comment Share on other sites More sharing options...
glory Posted December 22, 2008 Share Posted December 22, 2008 As for the money required for licensing, it may be that alums and fans need to start a "capital" campaign just to help corps and DCI cover these costs. (truly, it's not "capital" in that it's not for a large purchase of equipment or real estate, but the money needed is just as big.) Or corps might have to restrict their programs to music that's already in the public domain even if it means a bias to "older" tunes. HH Quote Link to comment Share on other sites More sharing options...
MikeD Posted December 22, 2008 Share Posted December 22, 2008 Or corps might have to restrict their programs to music that's already in the public domain even if it means a bias to "older" tunes.HH Or play more original music...biasing to "newer" tunes... to look at the other end of that spectrum. Quote Link to comment Share on other sites More sharing options...
roosevelt Posted December 22, 2008 Share Posted December 22, 2008 which is even dumber for those who think DCI "has it in" for the Troopers if they were to realize just how much effort and resources DCI put into making sure the Troop came back...which unfortunately they never did for any other corps, and will more than likely never do again. What exactly did DCI do for the troopers that they didn't do for other drum corps? DCI was the governing body that intervened in the first place and FORCED the troopers to take a year off (which was a good thing IMO). Quote Link to comment Share on other sites More sharing options...
EndzoneEric Posted December 22, 2008 Share Posted December 22, 2008 I see. I'm not sure that I understand, but I see. This may just be semantics, but is it really synched? No one overlaid the music with the video. They happen at the same time by the same performers. It's an old phrase, apparently, referring back to the days of film making, where the audio track was "synched" with the visual portion of the film. Quote Link to comment Share on other sites More sharing options...
EndzoneEric Posted December 22, 2008 Share Posted December 22, 2008 (edited) I will be curious to hear an A/B comparison of Phantom's performance between the unedited to the now edited version, to hear how "seamless" the edit is. It's pretty darn "seamless," as advertised. Edited December 22, 2008 by EndzoneEric Quote Link to comment Share on other sites More sharing options...
DrumCorpsFan27 Posted December 22, 2008 Share Posted December 22, 2008 But on the DVD they're separate tracks. If you look at a DVD on a computer, you'll see files for the audio and video listed separately. THAT'S where they synchronization comes in. The video files and audio files must be synced with one another, otherwise you get music a half-step (literally, in this case) off from the video. Ahhhhh, OK, now I get it. What lawyer thought this #### up??? Quote Link to comment Share on other sites More sharing options...
DrumCorpsFan27 Posted December 22, 2008 Share Posted December 22, 2008 (edited) So here is what I think is a legit question regarding this subject:Should corps ONLY perform music they can get synch. rights to, or should they go ahead and do whatever they can get the arranging rights to and let the DVD's have "holes" in their performances? This is not a new thing with WGI. It seems every year in every division in the percussion world there is at least one show that is missing music at some point and there is video only. It is distracting, but I guess I've gotten used to it. I will be curious to hear an A/B comparison of Phantom's performance between the unedited to the now edited version, to hear how "seamless" the edit is. But what do you think is more important: corps doing the best material they can to please judges, regardless if they can get synch. rights? Or corps ONLY doing material they can get synch. rights to, thus insuring the DVD's will be unmolested? DVD sales bring in money. Now, (not directed at you, but a question to all) what is this crap about getting a sync license and then getting it revoked after the fact??? Edited December 22, 2008 by DrumCorpsFan27 Quote Link to comment Share on other sites More sharing options...
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