Let It Tour
New York, New
York, USA: November
Rock on: The exhibit is
planned for nine other
cities, including Tokyo,
Japan and Los Angeles,
Music, video and photographs were the core of the
exhibit, but the project team had to secure rights
to use anything that wasn’t owned by the Rolling
Stones, including all of the band’s music prior to
1972. To lock in contracts with the 26 individuals
who owned many of the exhibit’s 500 objects, Mr.
McGinity’s team at iEC dedicated two members,
including a full-time archivist, to collaborate with
the organization’s legal team.
;at task proved especially daunting for a
55-screen, three-minute video montage that opens
the exhibit. ;e team had to secure the rights to an
hour of footage from various sources to make the
short ;lm—without going over budget. ;e rate
to secure footage varied by rights holder—some
charged a per-second fee; others charged a ;at fee.
So the team applied for rights of footage only after it
RIGHTS OF WAY
calculated exactly how many seconds of each piece
were needed, Ms. Gallagher says.
;at meant the video’s contents were in ;ux. “;e
video producers were constantly making adjustments based on what they could get and what was
available,” she says.
Although her team couldn’t acquire certain
footage that was cost-prohibitive, all the other
necessary rights were secured just three months
SHINE A LIGHT
Choosing LED lighting to illuminate the exhibit
had multiple bene;ts. In particular, LED lighting
is easier to transport and more cost-e;cient and
energy-e;cient than incandescent stage lighting.
In the end, the project team bought 500 LED lights.
Renting the lights for the London run alone would
have cost as much as buying them for the entire
tour. Buying the lights also meant better quality
control: ;ere’s no risk of having to ;nd the same
high-quality lights at each museum. “It’s a risk
you’re better o; mitigating if you’ve got the upfront
budget,” Mr. McGinity says. PM