fintage house
film finances and fintage house, the companies behind cashét, are big in the entertainment financial industry .
in 2012, fintage brought in one - time rights agency ltd into its family, adding clients such as phil collins and mumford and sons to the fintage house roster .
robbert aarts, co - ceo fintage house added: “we began our rights journey in the film and tv business three decades ago .
in this clip from urltoken - robert aarts is co - ceo of fintage house, an entertainment - asset management firm based in the netherlands .
niels teves, co - ceo for fintage house said, “for 30 years we have been creating leading services engineered by experience and as such provided a platform where transparency can thrive .
financial services and royalties collection outfit fintage house has completed a management buyout as well as appointing entertainment lawyer maarten p melchior to head the company' s film and television collection account management division .
kobalt music group has fully acquired the music publishing and neighbouring rights businesses of fintage house – one of the biggest players, and kobalt’s toughest rivals, in the multi - billion dollar nr space .
andrew gummer, president of the music division at fintage house, added: ‘in my view the music industry still has a long way to go to best serve the interests of recording artists and composers .
ral has entered into a strategic business investment agreement with fintage house - a tv / film and music rights collection business and publisher, whose clients include the elvis presley estate, britney spears and jason mraz and which recently picked ...
a new credit card, cashét card llc, has been launched jointly by film finances, inc and fintage house. the basic idea is that the companies will give one percent cash back to film and tv productions every time the card is used .
2. out of the residual reserve we then pay the payroll house the total amount invoiced and in turn the payroll house pays the guild members (through the guilds) along with any sums due for applicable benefit, pension, health and welfare plan. any excess in the residual reserve is liquidated per the remainder of the recoupment schedule .
“the innovative and service orientated approach adopted by fintage house combined with kobalt’s long - term commitment to transparency and empowerment has convinced us that the combined forces of the two companies will provide by far the best and most influential service available in the neighbouring rights and music publishing sectors. ”
teves was joined in this disbelief by his fintage co - founder, robbert aarts (pictured, right) .
willard ahdritz, kobalt founder and ceo commented, “we’re incredibly excited to work with the roster of creators that fintage represents .
if fintage isn’t a name that immediately comes to mind when the subject of music biz revolution is raised, it’s probably deliberate .
unlikely as it may seem, within these very sober, very serious surroundings, fintage unleashed a quiet revolution for the music business .
“we were kind of like coutt’s bank of the netherlands, ” explains fintage co - ceo niels teves (pictured, left) .
having built what would become fintage within this banking environment, teves and aarts bought out the company and set up as an independent .
melchior previously worked with fintage co - chairmen robbert aarts and niels teves in the early nineties at the company' s forerunner, meespierson communications .
fintage convinced cher’s team that there was much more money owed to her around the globe than she was previously receiving… and then proved the theory .
another key ambition of fintage is to continue to build its publishing division – its first entry point into the music business all that time ago .
1. once every quarter, the payroll house, which is to be contracted by the producer, calculates the residuals due on the basis of amongst others the cast lists (talent and crew) and our statements, and provides this information by way of an invoice to both producer and ourselves .
other investments by fintage have included fuga, the digital delivery and aggregation platform that now counts ministry of sound amongst its 5, 000 label clients .
it goes without saying that fintage’s connections to tinseltown also bring the very real possibility of its music catalogue being a go - to destination for sync .
a good example of this movie / music cross - pollination came in 2012, when a fintage client won a publishing award for the first time in the company’s history .
filmaid’s founder caroline baron flew in from new york and will be joined by guests including richard dreyfuss, radha mitchell and lea seydoux. michelin - starred chef james atherton is cooking dinner and alison moyet will perform. already this week, 350 people showed up on monday afternoon for a boules tournament benefitting filmaid, hosted by fintage house and akin gump. the afternoon event brings out the entertainment industry’s financial bigwigs for a heated jeu - de - boule competition. among those there were banker joe woolf, endgame’s doug hansen, film finances’ kurt woolner and event host robbert aarts, fintage’s co - ceo. the boules winners were cja / vita’s chris johnson and and coutts & co. ’s neil phelps .
in addition to nr, kobalt’s acquisition brings fintage’s well - regarded music publishing operation into its ranks, with a transition of all clients set to take place in the coming months .
fintage cam has launched its new online cam live portal! the tool, developed by using the moviechainer technology, allows fintage cam’s clients to follow and track all up - to - date revenues of their entire portfolio, as well as their collection statements, at any time and from anywhere around the world. through the use of various advanced search [ … ]
within a few years, their music rights division had expanded beyond publishing into two more blossoming areas: digital distribution and neighbouring rights – where fintage really turned the music business on its head .
fintage is part of a powerful group trying to overturn us laws which continue to block recorded music rights - holders from being paid royalties when their tracks are played on terrestrial radio and tv .
fintage catapulted to market leadership in the neighbouring rights space partly due to a strategic business investment with damian pulle’s rights agency ltd. (ral) in 2012, which provided global scope and advanced infrastructure .
fintage' s management is buying the company, which has offices spanning europe, australia, japan and the us, from the netherlands' meespierson bank. the buyout is financed by fortis bank and equity investors .
he isn’t telling fibs about that client list: no less than 19 movies involved with fintage were nominated for oscars and golden globes this year, including brooklyn, the big short, the hateful eight and spotlight .
in fintage’s anniversary year, the company continues to grow – not least thanks to new neighbouring rights opportunities in countries such as nigeria, which has just begun pursuing the licensing of sound recording rights for commercial performance .
the hope for teves is that societies in both publishing and recorded music rights will eventually begin allowing agents like fintage and rival kobalt onto their boards – where they can begin wielding political influence on behalf of creators .
fintage house is a privately owned global film and tv rights company. we have developed unique business lines ranging from collection account management for film & tv production to digital rights management and custom - made services for the audio - visual industry. the company is involved in various aspects of financing, production and distribution of audio - visual content. cultivating innovative and successful ventures with experts in the industry to service client needs with precision is what we do best, we have been doing it for more than 30 years. we are guiding our clients through the opportunities and pitfalls of the digital age carefully and always bearing in mind our core values of great service and innovation .
( teves won’t be delighted that we’ve snuck out even this small sample of fintage’s client list. maintaining the discreet demands of his private banking days, he visibly bridles at any attempt by mbw to breach client confidentiality. )
teves and aarts are both very proud of fintage’s independent status, and the fact that – without private equity ownership breathing down their necks – their business is secure, profitable, debt - free and growing at a pace .
our collection account management (fintage cam) service ensures that all parties with a financial interest in a film or television production, from producer to financier to profit participant, will receive their pre - agreed share of the revenues collected .
insiders at fintage tell us that the company’s neighbouring rights operation got off the ground after it began representing cher for her global smash believe – a track actually recorded in the uk, and therefore eligible for big global performance rights revenue .
the move also meant that the talents and contact book of damian pulle – widely seen as the father of neighbouring rights in the uk, with a tough reputation for banging on the doors of unscrupulous collection societies – joined fintage’s ranks .
neighboring rights is now fintage’s biggest music division by some distance, with the company acting as a direct representative for a string of superstars – ensuring the amount of money paid back to these musicians for performance rights around the world is maximised .
if fintage did ever want to shout from the rooftops, it might like to mention that its neighbouring rights division now boasts clients including bruce springsteen, faith hill, sia and ed sheeran, amongst many other megastars we’ve been banned from mentioning .
the deal brings fintage’s nr roster of artists – including katy perry (pictured), bruce springsteen and britney spears – into kobalt, which already looks after neighbouring rights for acts such as paul mccartney, sam smith, ariana grande and many more .
[ update: to be clear, kobalt has acquired fintage’s music operation, but the dutch company’s brand, plus its film / tv division – incorporating collection account management, avpr, international licensing and protocol – are not affected by the deal. ]
netherlands - born fintage recently celebrated its 30th anniversary and featured in an mbw interview to mark the occasion – in which its co - ceo robbert aarts predicted “the [ neighbouring rights ] market is going to double if not triple in terms of size as more countries open up. ”
ann tausis, md of kobalt neighbouring rights at kobalt, added, “with a combined fintage and kobalt neighbouring rights business, our clients will have access to a team of people with more experience than anyone else in the industry, together with an incredible suite of products built for them, including our newly launched neighbouring rights app .
becomes involved in a project, a collection account is opened at a bank into which the worldwide revenues of the film or tv production are to be paid. this account can be opened as soon as the title of the film is known, so that the sales agent can invoice distributors immediately. the parties involved, but in any case the producer, the sales agent and fintage
combined, their budgets are over $ 3 billion as they annually take part in over 300 new film and tv productions. film finances has bonded about 200 films a year, some being “the hunger games, ” “moonrise kingdom, ” “king’s speech, ” “the descendants, ” “black swan” and more. fintage’s films include “paranormal activity, ” “terminator: 3, ” “crash, ” and on a whole, they were involved with movies that got 75 oscar and golden globe nominations. it’s no doubt that
neighbouring rights collections – the the money obtained after an artist or label’s recorded material is publicly performed, particularly on tv or radio – are a fast - growing sector of the global music business .
last year, nr generated $ 2. 09bn for rights - holders, according to the ifpi – $ 200m + more than spotify paid out in the same period .
kobalt’s neighbouring rights revenues grew 127% last year, up to $ 20. 9m. the division generated a $ 935, 000 profit (not including kobalt music group - wide common costs) .
kobalt said the buyout would “bolster [ our ] ” reach globally for clients and set a new industry standard for neighbouring rights collections and payments” .
“this deal strengthens our ability to collect more income for more creators from more places around the world. ”
“this deal strengthens our ability to collect more income for more creators from more places around the world. with a larger roster, we’re also excited to put more technology investment into neighbouring rights global collections. ”
“i really believe we can achieve more for the music industry and its clients by merging our forces and values, than we could apart. i have a lot of respect for the technological advances that kobalt has built and for the portfolio that it currently represents .
“together, this business deal will continue to help the music business grow up and service clients better’ .
“we are very keen to continue to build on what we have created in kobalt in a relatively short space of time and take this increasingly important revenue stream to new levels .
“there has never been a better time for music creators to be with kobalt, and we’re committed to continuing to raise the bar and create positive changes for them in this field. ”
“we are very proud that we were able to successfully bring our values and expertise to the music industry as well as nurturing strategic partnerships in the digital arena. we will focus even more now on our film and tv business lines alongside exploring additional avenues. ”
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the music business just got spanked by google. surely it' s now time to speak with one voice .
in her latest film files column, sharon swart recaps the recent string of theft to hit the fest, and previews tuesday night' s big philanthropic bashes .
torrential rain. gale - force winds. multiple thefts and muggings. are locusts next in cannes? (well, reportedly, one big hotel on the croisette has bedbugs. )
last week’s downpours and the $ 1 - million chopard jewelry heist were just the tip of the iceberg here in cannes. i’m hearing almost daily reports of people who have been robbed in some way over the course of the festival .
a banker was mugged late at night near the cannes train station a few days ago. and a five - bedroom villa rented by a group including cit managing director kevin khanna and silver pictures coo steve richards was emptied of its valuables yesterday evening. (at least the burglars left everyone’s passports. )
though thefts always have been part of the reality here, this year it’s an epidemic — but not exactly incomprehensible. with the increasing amount of opulence on display during the film festival — startlets dripping in diamonds, ferraris and maseratis everywhere — it’s no wonder that cannes is a magnet for crime. especially when france’s economy is still in the toilet .
on a brighter note this week, some of that opulence will be used for good. among the big charity events happening here tonight are the heart fund’s dinner at the carlton hotel, and filmaid and naked heart foundation’s beach ball at plage royale. (full disclosure, i am a member of filmaid’s board of directors .) all three charities are making their cannes fest dinner debuts .
the heart fund event is co - chaired by sony pictures classics’ tom bernard. the charity fights cardiac diseases in developing countries and will be raising money to build a hospital in port - au - prince, haiti. one hundred red heart - shaped flying lanterns will be released from the carlton hotel tonight, celebrating the event and the 100th anniversary of the carlton hotel. among those expected to be in attendance are prince norodom ravichak of cambodia, actor gary dourdan and tichina rolanda arnold .
the filmaid and naked heart foundation dinner and auction is co - hosted by inside llewyn davis actor oscar isaac and model natalia vodianova, who founded the latter charity. naked heart foundation supports russian children and families raising kids with special needs. filmaid uses the power of film and media to bring life - saving information, psychological relief and hope to refugees and other communities in need .
on the radar for later this week is cannes charity behemoth amfar, which will be celebrating its 20th cinema against aids gala. hosts include sharon stone, jessica chastain, janet jackson, heidi klum, milla jovovich, carine roitfeld and harvey weinstein. duran duran and shirley bassey will be among the musical performers at the hotel du cap - based extravaganza .
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teves said that the new - look operation would continue to have a preferential arrangement with fortis and meespierson for all banking requirements. he added that the company would'
continue to operate in the same manner as we have over the last fifteen years, during which time we have represented thousands of feature films .
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filmmakers will usually do anything to cut costs. but is cashét card the panacea they’ve been looking for? it depends. to give you a better idea of how the card works, here are five ways that cashét pitches itself toward the budgetary needs of today’s filmmakers .
card usage is said to save production companies money in the areas of travel, lodging, transportation, construction materials and equipment rental through discounts. let’s take “avatar 2” as an example; the first film shot in places like hawaii and new zealand. if james cameron were to swipe this card, it seems he could, if we take the travel route, cut back from spending airfare to fly out cast and crew to international locales to shoot scenes. international airfare is costly for one person–add in multiple people to that and expensive equipment and this card might be saving cameron a ton of money. keeping thousands of dollars, or millions at bay then becomes a godsend for producers who don’t exceed their budgets but can now use that “extra” money to finance other areas of their projects that may be lagging .
but it begs asking the question: what about amateur filmmakers who are monetarily restricted from the beginning? where travel is running to the nearest store, not new zealand? the card seems to be very beneficial for producers who might overspend or just have a lot of money to work with, but it seems like film size and budget are important factors to take into consideration for the success of this card .
the card can be used at any time during the production process, allowing directors to have control over how much they spend in each department. budget is not so much an issue, either–producers could be working with $ 5 million or $ 100 million, according to cashét coo paul rogers. but it seems production companies will need to be somewhat financially stable to take advantage of this card (sorry, amateur home movie directors). again, movie size seems like it might matter for filmmakers to take advantage of the card .
companies must have security and be able to pay off the card every seven days, so maxing it out isn’t really an option. meaning, the card is not going to help with monumental epic that runs over budget everytime the camera rolls. with power comes great responsibility…this card sounds very beneficial, but will producers have the time, or want to deal with a card that they have to keep track of on a weekly basis? if they forget to pay off their costs every week, they’re suddenly being pulled into debt, not out of it .
the card has been used in eight films so far since its soft launch in may .
it was used for the first time in the indie film “better living through chemistry” with olivia wilde, michelle monaghan, sam rockwell and jane fonda. producer joe neurauter praised cashét for its easy set - up and additional financial oversight, especially in regards to
using the card’s online monitoring and accounting tools. other producers noted similar reactions, happy with the wide range of production expenses they could put on the card as well as the cash back they would receive. but it’s worth wondering how specifically this movie and the other seven films have benefited from getting cash back and discounts on the noted areas of travel, transportation, etc .
cashét is backed by talent that knows what it’s doing. but how much money have the films that have worked with this card been able to save? perhaps with
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eric kohn and anne thompson discuss their favorite films of the year so far. they also debate several new releases and share some streaming recommendations .
in an episode dedicated to the show within the show, “glow” illustrates its grand capacity for storytelling, and the very good tv podcast breaks down how .
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after studying under cinematographer ed lachman, shevaun mizrahi forged her own unique filmmaking path with its own set of rules .
the actress and director both love the genre, but as they told indiewire, they also knew it needed to be retrofitted to tell the true story of catherine weldon and sitting bull .
lane and schoenbrun discuss how her interest in morgellons disease patients (“the pain of others”) and his exploration of the slenderman myth (“a self - induced hallucination”) led them to make archival films from youtubes .
rights agency limited (ral) was widely acknowledged as the uk' s first ever neighbouring rights operation when founded by damian pulle in 1988. the firm now counts artists as high profile as sir paul mccartney, eric clapton and phil collins amongst its clients .
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the annual boules tournament during the cannes film festival has become a true tradition; it’s the place where a variety of people come together to network, make deals, catch up and meet (potential) clients while having the chance to throw and roll the boules in pétanque. pétanque, originally called pieds tanques, which means ‘feet anchored’, [ … ]
we have crafted tailor - made and direct collection models for the industry, ones that our competitors are using today and we continue to pave the way in how rights collection works for the client. our business ethic is to rely on our nuts and bolts knowledge and operational excellence allowing us to produce results beyond expectation for our clients. we have a global reach with our multi - cultural staff with 18 nationalities and 16 languages based across 11 countries breaking down industry and cultural barriers .
with the market rapidly evolving into a tech driven mechanism, it must be highlighted that the essentials cannot be forgotten – the operational fundamentals and the intelligence behind the way our mechanics work. our company focus from day one was to develop pro - active and intelligent collection models for our clients that really protect their rights. we have offices in the netherlands and hungary with consultants in australia, france, germany, italy, japan, north and south america, south east asia, spain and the uk .
non music related royalties due on film or tv program broadcasts throughout europe, north america, argentina, japan and australia .
our cam service ensures that all parties with a financial interest in a film or tv production will receive their pre - agreed share of the revenues collected .
lasso is the leader in online rights management for independent film & tv, monetising 200m + views monthly .
shall receive all revenues and administrate, allocate and pay the same on behalf of the parties in accordance with the pre - agreed recoupment schedule or waterfall .
sets aside a percentage (which percentage depends on which guilds are involved) of all collected revenues as a residual reserve, there should always be sufficient money in the collection account to pay residuals .
if required, we can provide you with the contact details of the payroll houses that we know are acceptable to the guilds to calculate, receive and disburse the residuals due .
exclusive consultants in amongst others australia, france, japan, mexico, north america, spain and the united kingdom which minimizes time zone challenges and language barriers .
letter agreement may be beneficial. this ensures that distributors already pay into the collection account, whereby the sales agent receives its fees and expenses from the collected revenues which are normally retained in the collection account until the long form
reporting system. the purpose of this online service is to give you a convenient and immediate way of viewing your collection statements and distribution agreements online – thus keeping you informed about your entitlements and the financial position on each film or tv production. what information is available ?
files of all collection statements that have been issued for each film or tv production you have with us .
they begin in a dingy basement, or in a dingy record store – or in the dingy recesses of a party - addled mind .
eventually, such environments lead an impresario to strike on the right band, the right cultural movement, or the right crazy entrepreneurial scheme .
“eventually, that led to the chance to be involved with other entertainment rights. so we looked at the music business and thought: ‘this is crazy!' ”
“we were told that in music, you expected biannual accounting plus 90 days. it was ridiculous to us. ”
the duo, bamboozled by the labyrinthine nature of music publishing royalties, decided to do what they could to fix the system; to apply the rigor of the wealth management industry to the looser fiscal elements of the music business .
“we discovered our film clients had music publishing rights but we had no real idea what that was, ” continues teves. “then we looked into it, and it was a complete mess !
“we were used to the film business, where you make money and then within five days, you’re paid .
“we were being told that, in music, we were to expect biannual accounting plus ninety days! it was ridiculous to us. so we decided to do something about it. ”
it’s a fight teves and aarts are still undertaking – but no - one could deny they’ve made an impressive amount of progress .
“we have a discreet approach that goes back to our days in banking. it’s not very ‘music business’, but it’s how we run things. ”
“we have a discreet approach that goes back to our days in banking, ” says robbert aarts. “it’s not very ‘music business’ but it’s how we’ve always run things .
“we attract our clients through word of mouth, rather than shouting from the rooftops. it’s a completely opposite strategy to some others in the marketplace. ”
that, however, doesn’t mean that strategic acquisitions are outside of their remit .
“the ambition now is to grow further, ” says teves. “but our main focus is definitely helping to open up new territories in neighbouring rights .
“there are so many big countries who do not pay, like argentina, where we know a lot of money is being collected, as well as indonesia and china – huge countries with huge possibilities. we want to be at the forefront of that. ”
in this regard, the us is the only major ‘first world’ nation which doesn’t fiscally reward artists with broadcast performance royalties .
“i’m very optimistic about the future of neighbouring rights – the market is going to double if not triple in terms of size as more countries open up, ” says aarts .
“we have spent a long time building relationships with the societies and the artists in this area, and we have more experience in this field than anybody else. people come to us because they know we’re the experts. ”
“we remain quite niche compared to the majors in music publishing, ” explains teves. “but with our rich client base in hollywood and elsewhere, we offer unique opportunities for songwriters to consider working on film and tv projects. ”
composer alex heffes picked up an ivor novello for best original film score for the first grader .
“i’d like to keep building the structure of the publishing company so it’s appealing to big clients, ” adds teves. “our model is no - nonsense and about creating opportunities .
“in the world of pop you need huge advantages that sometimes don’t make financial sense. that’s not a game we want to play. ”
“in the pop world of music publishing you need huge advances that sometimes don’t make financial sense – we don’t want to risk our security or compromise our ownership, so that’s not a game we want to play. ”
adds aarts: “the reason we are very confident is that we’re a debt - free company. we don’t have private equity telling us what to do, and we don’t pay stupid advances .
“we are truly in the service business – our no. 1 priority is just to serve our clients better than anyone else, and that means staying very secure. ”
in addition, it recently teamed up with one of the largest independent publishers in the world, imagem, to launch a joint neighbouring rights venture, fim .
“the system between the collecting societies is still very dysfunctional, unfortunately, ” says teves. “there is the international performer database (ipd) but frankly it doesn’t work like it should .
“as an artist’s neighbouring rights representative, we don’t get access to it – we want to help clean up the data but they don’t want us to. that’s very frustrating. ”
“things are better than they were, but we need societies to pay out more frequently, ” adds teves .
“the likes of ppl and soundexchange are much better now because they pay on a quarterly basis, but a lot of societies still pay on an annual basis and are three years behind .
“we cannot force collection societies to pay faster, but at least we know their deadlines for registrations, so we carefully plan the year to ensure our clients get paid as soon as possible. ”
teves admits that the disappointment in his words reflect his natural high standards – a residual effect of “the private banker left in me” .
it can surely be no bad thing for the music business to be held accountable to such demands – especially when they’re working directly for the betterment of artists and songwriters .
it pays out more than spotify and is growing fast. neighbouring rights: the music biz’s unsung hero .
music industry defeated over article 13 vote in european parliament... but it' s not over yet
fintage house is an independent company that deals with film , tv and up until the end of 2016 , music rights . it was established in 1986 and is co-chaired by robbert aarts and niels teves . fintage is based in leiden , the netherlands and provides its services through an affiliated office in budapest , hungary as well as representatives in the united states , canada , australia , japan , italy and spain . in 2008 the company had approximately 70 employees worldwide with 50 of these based in europe . the company 's expertise lie in revenue collection and reporting for rights owners through the protection of money streams as well as actively finding new revenue streams . fintage house were the first to account for revenue streams on a monthly basis rather than annually . initially the company dealt primarily in film & tv but have since focused on the music business until the sale of the division to kobalt . fintage house still operates in the film , tv realm with services such as collection account management and audiovisual producer rights . fintage house 's music clients included britney spears , the elvis presley estate , anna netrebko , jason mraz , the black . eyed peas and foo fighters . fintage film & television represents production and sales companies . in 2002 fintage house announced that maarten p melchior was to head the film and television division . fintage serve over 1000 film and tv companies including : terminator 3 , crash , the hurt locker , district 9 , paranormal activity , terminator salvation , single man , broken embraces , precious , the messenger , nine , an education , young victoria , food , inc. , the last station . the company linked with mediapeers in 2010 , offering an online platform for sellers and buyers of content e.g. films & tv series . fintage house made an investment in uk-based rights agency limited in june 2012 . cashét card llc was launched in july 2012 with the backing of fintage house and film finances , inc . the card is designed for film and tv productions to provide companies with cash back when used . the card was first used in the film better living through chemistry . every year to coincide with the world famous cannes film festival , fintage house and akin gump organise the jorge gallegos memorial trophy , annual boules tournament . this prestigious event combines the sport of pétanque with a relaxed and informal cocktail party and is attended by the who ’s who of the film and television world . this year ’s tournament took place on 20 may on the promenade de la croisette , cannes , france . all proceeds from the boules event directly benefit humanitarian organisation , filmaid international . in 2013 fintage house signed a deal with iip , the creators of fuga , to create a new online platform for rights-holders . together fintage and iip plan to create a fully automated service for rights holders including : global distribution of master recordings , promotion and revenue collection . in a traditionally slow and convoluted part of the business , this new platform will put the information at the client ’s fingertips . on september 27 , 2016 , fintage agreed to sell its music publishing and neighboring rights divisions to kobalt music group . 
fintage house is an independent company that deals with film, tv and up until the end of 2016, music rights. it was established in 1986 and is co-chaired by robbert aarts and niels teves. fintage is based in leiden, the netherlands and provides its services through an affiliated office in budapest, hungary as well as representatives in the united states, canada, australia, japan, italy and spain. in 2008 the company had approximately 70 employees worldwide with 50 of these based in europe. the company's expertise lie in revenue collection and reporting for rights owners through the protection of money streams as well as actively finding new revenue streams. fintage house were the first to account for revenue streams on a monthly basis rather than annually. initially the company dealt primarily in film & tv but have since focused on the music business until the sale of the division to kobalt. fintage house still operates in the film, tv realm with services such as collection account management and audiovisual producer rights. fintage house's music clients included britney spears, the elvis presley estate, anna netrebko, jason mraz, the black. eyed peas and foo fighters. fintage film & television represents production and sales companies. in 2002 fintage house announced that maarten p melchior was to head the film and television division. fintage serve over 1000 film and tv companies including: terminator 3, crash, the hurt locker, district 9, paranormal activity, terminator salvation, single man, broken embraces, precious, the messenger, nine, an education, young victoria, food, inc., the last station. the company linked with mediapeers in 2010, offering an online platform for sellers and buyers of content e.g. films & tv series. fintage house made an investment in uk-based rights agency limited in june 2012. cashét card llc was launched in july 2012 with the backing of fintage house and film finances, inc. the card is designed for film and tv productions to provide companies with cash back when used. the card was first used in the film better living through chemistry. every year to coincide with the world famous cannes film festival, fintage house and akin gump organise the jorge gallegos memorial trophy, annual boules tournament. this prestigious event combines the sport of pétanque with a relaxed and informal cocktail party and is attended by the who ’s who of the film and television world. this year ’s tournament took place on 20 may on the promenade de la croisette, cannes, france. all proceeds from the boules event directly benefit humanitarian organisation, filmaid international. in 2013 fintage house signed a deal with iip, the creators of fuga, to create a new online platform for rights-holders. together fintage and iip plan to create a fully automated service for rights holders including: global distribution of master recordings, promotion and revenue collection. in a traditionally slow and convoluted part of the business, this new platform will put the information at the client ’s fingertips. on september 27, 2016, fintage agreed to sell its music publishing and neighboring rights divisions to kobalt music group.
fintage house is an independent company that deals with film, tv and up until the end of 2016, music rights. it was established in 1986 and is co-chaired by robbert aarts and niels teves. fintage is based in leiden, the netherlands and provides its services through an affiliated office in budapest, hungary as well as representatives in the united states, canada, australia, japan, italy and spain. in 2008 the company had approximately 70 employees worldwide with 50 of these based in europe. the company's expertise lie in revenue collection and reporting for rights owners through the protection of money streams as well as actively finding new revenue streams. fintage house were the first to account for revenue streams on a monthly basis rather than annually. initially the company dealt primarily in film & tv but have since focused on the music business until the sale of the division to kobalt. fintage house still operates in the film, tv realm with services such as collection account management and audiovisual producer rights. fintage house's music clients included britney spears, the elvis presley estate, anna netrebko, jason mraz, the black. eyed peas and foo fighters. fintage film & television represents production and sales companies. in 2002 fintage house announced that maarten p melchior was to head the film and television division. fintage serve over 1000 film and tv companies including: terminator 3, crash, the hurt locker, district 9, paranormal activity, terminator salvation, single man, broken embraces, precious, the messenger, nine, an education, young victoria, food, inc., the last station. the company linked with mediapeers in 2010, offering an online platform for sellers and buyers of content e.g. films & tv series. fintage house made an investment in uk-based rights agency limited in june 2012. cashét card llc was launched in july 2012 with the backing of fintage house and film finances, inc. the card is designed for film and tv productions to provide companies with cash back when used. the card was first used in the film better living through chemistry. every year to coincide with the world famous cannes film festival, fintage house and akin gump organise the jorge gallegos memorial trophy, annual boules tournament. this prestigious event combines the sport of pétanque with a relaxed and informal cocktail party and is attended by the who ’s who of the film and television world. this year ’s tournament took place on 20 may on the promenade de la croisette, cannes, france. all proceeds from the boules event directly benefit humanitarian organisation, filmaid international. in 2013 fintage house signed a deal with iip, the creators of fuga, to create a new online platform for rights-holders. together fintage and iip plan to create a fully automated service for rights holders including: global distribution of master recordings, promotion and revenue collection. in a traditionally slow and convoluted part of the business, this new platform will put the information at the client ’s fingertips. on september 27, 2016, fintage agreed to sell its music publishing and neighboring rights divisions to kobalt music group.