中文
You are torn, battling between selling your stock footage under the rights managed license (RM) or the royalty-free license (RF). You know RM is the trusty reliable license you can count on as it has been around since the concept of stock footage first evolved. RF may be the new kid on the block, but there must be a reason why there are so many microstock footage sites offering them. So which should you choose?

For the uninitiated, here’s a short explanation of the key differences between the two:
Duration of use: RM footage are licensed for a limited amount of time; RF footage can be used for perpetuity.
Cost: RM footage are charged based upon various usage considerations, such as the purpose of production, the size of its audience and the duration of usage; RF footage are charged based upon the format required.

To make the choice between RF versus RM, most people would ask – which license is more profitable?

If this question is posed in a scientific experiment, all things being equal, and only one sale is made, the answer will be clear – RM. Simply because it’s licensing charges is higher than RF.

In reality, it is hard to gauge, as choosing between RM and RF boils down to the age-old business choice between “selling quality” versus “selling quantity”. RM stock footage command a higher licensing charge for their unique content and exclusivity. However, there are fewer buyers as they not only cost more, but are based on complicated usage considerations. The Association of Commercial Stock Image Licensors has attempted to rectify the latter issue with the Licensing Grid, but it is impossible to make it as uncomplicated as RF.

RF footage eliminate the barriers of RM, attracting more buyers. Commonly sold as online instant downloads for perpetual usage, RF stock footage are convenient to buy, flexible to use, and much cheaper. However, their lower pricing make the earnings trickling in seem more like pocket money.
Both licensing models have proven to work, so perhaps the question should not be about which license will make you more money, but rather, what you have and prefer to offer.

Here’s three questions you can ask yourself:

1. What kind of stock footage content do you have?
If they are unique, specialized, difficult to get, then you can consider selling under RM as there is a higher chance people will be willing to pay a higher price for them. If they are generic content that are useful for multiple situations, then sell them as RF as many people would find them useful to buy.

2. How big is your stock footage inventory?
If you have tons of works, you can afford to “sell quantity”. Then it will be better to sell under RF where there is a higher rate of sales, as compared to RM.

3. How much do you love your stock footage?
RM, with all its complicated usage considerations, helps you keep track of who’s using your footage, what they are being used for, when and where they will be used. RF, while still ensuring your copyright to your works, does not provide these form of control.

管理许可证于免版税许可证大战

您感到困惑，正考虑是否以版权管理许可证（RM）或是免版税许可证（RF）出售您的视频素材。您知道RM是相当可靠的，因为它在视频素材这概念刚萌生的时候，就已经存在了。 RF 则是初出茅庐而已。但它必定有其魅力，才会让众多微视频素材网站也开始提供这项服务。那该从何选择？

对于门外汉们，这里有一个简短的说明, 试图区分两者的关键性差异:
使用期限
版权管理的视频素材，许可权只限于一定的时间; 免版税视频可永久性使用。
成本
版权管理视频的收费得考量各种使用条件，如制作目的、观众规模的大小，和使用期限的长短; 免版税视频的收费，则是根据所要求的格式而定。

在版权管理视频和免版税视频之间，作出选择时，大多数人会问：“哪个的回报率比较高？”

如果这问题是提出在科学实验里，那当其他条件是同等的，就只限于一个选择的时候，答案是明确的 – 版权管理视频。原因是因为它的授权费，高于免版税视频。

在现实社会里，却很难作抉择。只因为选择版权管理视频或免版税视频，就等于得在“质量”与“数量”之间选择。这是自古以来，商人常面对的两难困境。版权管理视频内容的独特性，令许可证的收费也相较提高了。
版权管理视频有较少的买家，不仅因为较高的收费，也因复杂的使用条例。商业视频图像素材许可协会已试图与牌照网格（http://www.acsil.org/news/acsil-launches-the-licensing-grid ）一起解决这个问题，但也无法使其程序像免版税视频的一样简单。

免版税视频少了版权管理视频的多重阻碍，因而吸引了更多买家。销售网站让人们即时下载免版税视频，并永久性使用，不单购买便利，使用也不受限制。然而，较低的价格也大大降低了回报率，使其盈利似乎像零用钱，多过于像收入。

这两种授权模式已证明可行。因此问题的关键不再于哪个许可证会让您赚更多的钱，而是您手上的视频比较适合哪种，而且您本身偏好于哪种？

你可以问问自己以下三个问题：
1.您持有哪种视频素材内容？
如果它们是独一无二、专门、不易得到的内容，那么您可以考虑以版权管理许可证出售。人们通常会愿意付出更高的价格，来购买这种内容。
如果它们是一般的内容，可用于多种情况，那么您应该以免版税许可证出售。 因为它的多重用途，会引来许多人的购买并使用。
2. 您有多少视频素材？
如果您有大量的视频，可考虑以“数量”销售。然后，再以免版税许可证出售，因为相比之下，免版税视频的销售额比版权管理视频来得高。
3.您有多爱您的视频素材？
版权管理视频，尽管使用程序繁杂，可轻易帮您追踪到谁在使用您的视频、他们的使用目的、使用时间和地点。免版税许可证，虽然也保障了您的版权，可就没办法提供这些形式上的掌控。

中文

Stock footage are so commonly used we do not notice them. From news to commercials, films to television programmes, they are used everywhere in the media. Since its usage in the early twentieth century, one primary force drives its prevalence — cost effectiveness.
While this simple economic rationale continues to fuel the stock footage industry today, technology has changed its nature in terms of licensing, distribution, pricing, source and usage.

Here are five changes you should know:

1. You can use stock footage for perpetuity.
Technological advancement enables good quality reproductions of copyrighted works, and this has led to the exploration for more flexible, user-friendly forms of content licensing.
While much of archival footage are licensed as rights-managed works, stock footage can now also be bought under the royalty-free license.

The main difference between the two forms of licensing are:
1) Duration of use: Rights-managed footage are licensed for a limited amount of time; Royalty-free footage can be used for perpetuity.
2) Cost: Rights-managed footage are charged based upon various usage considerations, such as the purpose of production, the size of its audience and the duration of usage; Royalty-free footage are charged based upon the format required.

2. You can download stock footage instantly.
The advent of technology has not only enabled footage to be stored in digital format, but also created file-downsizing softwares and connected the world via high broadband speed, setting the necessary framework to buy and download stock footage online.

3. You can buy stock footage more cheaply than before.
Buying rights-managed footage are generally considered to be a cheaper and more convenient option, as compared to hiring a crew and cast to obtain the required shots.
However, royalty-free stock footage are based on an even more competitive pricing business model, making them viable options for cost-constrained projects.

4. You can make a living out of stock footage.
Traditionally, they are sourced from recycled content of previously produced works (usually news or film). Today, there are professional stock footage creators who make their living out of creating and selling stock footage.

5. You can act with dead people in your new movie.
With technological advancement, stock footage are no longer just used as establishing shots or cutaways. They can now be creatively manipulated for more interactive usage.
In the movie Forrest Gump (1994), Tom Hanks’ character Forrest meets several historical figures. Here is a video clip of Forrest Gump meeting John Lennon at The Dick Cavett Show. In the original interview, Yoko Ono was sitting beside John Lennon.

视频素材市场五大变革须知

由于被广泛使用,人们通常不会留意到视频素材的存在。但从新闻到广告，电影到电视节目，视频素材无处不在。从20世纪初至今,视频素材之所以广泛流传,是由于它最具成本效应。

尽管这简单的经济效应,持续推动现今的视频素材市场,科技也仍在改变其性质。例如,如何发放许可证，如何分发素材, 以及视频素材的定价，来源与使用情况。

五大变革须知:

一, 您可永久性使用视频素材。
科技的日兴月翼已允许高素质地复制受版权保护的作品。这引导如今的视频素材市场采用更居灵活性，变通性,方便用户的视频授权形式。虽然大多存档的视频授权为版权管理，但剩余的视频素材也可以以免版税性质购买的到。

二,你可立即下载视频素材。
科技的进步不仅让视频素材可以以数码格式存储着，也创造了档案缩编软件。同时，宽带互联网连接着世界各地，设置了必要的框架，方便上网购买和下载线上的视频素材。

三,如今你可以以廉价购买视频素材。
传统的做法是雇用全体班组及演员，以获得所需的镜头。相比之下, 购买版权管理的视频素材是更为廉价与方便的做法。再加上，免版税视频素材是基于一个更具竞争力的价格模式，所以它们更是低成本制作的热门选择。

四,你可以以卖视频素材为生。
传统上，视频素材是回收以前制作的作品（通常是新闻或电影）,然后再重新包装并促销。如今，有专业的视频素创作者以创作和贩卖视频素材为生。

五,你可以跟已故人士同台演出。
随着科技的进步，视频素材不再只是用作于定场镜头或旁跳镜头。它们也可以居创意性的用于互动的场合。在电影《阿甘正传》（ 1994年） ，汤姆汉克斯的角色阿甘，会面了好几位历史人物。以上是一小段视频,描述阿甘如何在《迪克卡维特节目》上会面约翰列侬。在原来的采访，小野洋子坐在约翰列侬的身旁。

中文
The prevalence of stock footage may have stemmed from its low cost, but they are not just used for commercial purposes.

In the 1920s, Russian filmmaker Lev Kuleshov assembled stock footage fragments together, as an experiment to illustrate the importance of editing in the creation of meaning in film. Known as the “Kuleshov effect”, the short film repeatedly intercut the expressionless face of Tsarist matinee idol Ivan Mozzhukhin with other stock footage, and created the misconception that Mozzhukhin had different expressions each time.

This concept of creating new meaning from assembling stock footage was further explored in “found footage films”. A sub-genre of experimental cinema that integrates previously shot film into new productions, one of the earliest “found footage films” was created by American artist Joseph Cornell. The film Rose Hobart was assembled partly from footage of East of Borneo and was titled after its leading actress.

Today, the use of stock footage is practiced more rampantly by the everyday man. The advent of video sharing websites, and cheap, layman-friendly editing softwares have spawned millions of home-made videos using recycled footage, most commonly in the forms of fanvids and mockumentary videos.

视频素材：跨越商业用途

视频素材的普遍性可归功于其低成本的性质，但它们并不只是用于商业目的而已。1920 期间，俄罗斯导演列夫•库勒雪夫组合了一系列的视频素材,作为一个实验。他希望以此证明,编辑在影片里扮演着创造意义的重要角色。

被称为库勒雪夫效果,短片反复交切沙皇日场剧的偶像伊凡 Mozzhukhin面无表情的镜头与其他的视频素材，并制造了Mozzhukhin每次都带有不同表情的错觉。

组合视频素材并寻得全新的意义,这种新颖的概念,通过“现成影片”被进一步探讨。

这是一种类型的实验性电影，将先前拍摄的视频注入新的作品。其中最早的“现成影片”出自于美国艺术家约瑟夫•柯内尔 。电影名为《罗丝•霍巴德》, 是重组了《东婆罗洲》的部分视频,并以女主角的名字命名。

如今，视频素材的运用已经不限于专业人士，大众人士也开始普遍使用。视频分享网站的普及，便宜又容易使用的编辑软件的崛起，已促使数以百万计自制影片的产生。这些以旧视频改装而生的影像，通常会以影迷视频或伪纪录片的形式重现在人们眼前。