When I arrive home after a multiple day and location stock footage trip, I’m often faced with the daunting task of preparing final stock footage clips from gigabytes of raw footage files. While I enjoy shooting, I don’t have the same feeling about editing, especially when there are hundreds and hundreds of clips to sort through. (more…)
Has another stock footage agency changed their pricing structure due to VideoBlocks’ new Marketplace? (more…)
Back in early-2014, ShutterStock launched 4K and began licensing clips at $299 each. While I strongly believe that 4K content should be priced at a premium, I was a bit skeptical on that price point. I thought that $299 was just a tad bit too high, especially since ShutterStock placed that price on all 4K clips, regardless of the complexity or rarity of the content. (more…)
So, if you’re a non-exclusive contributor to Dissolve, you may have noticed their recent announcement that they are “price matching” all non-exclusive clips on their site to be more in line with other sites, as if there’s a big discrepancy. (more…)
Here we are, well into the 21st century with devices in our hands that are capable to displaying HD and 4K videos downloaded wirelessly at blazing 4G and broadband speeds. So why are some stock footage agencies still automatically transcoding our stock media and selling low-resolution 240p video clips?
The Pittsburgh tourism agency, VisitPittsburgh.com, used a few clips from my Pittsburgh collection in their ad campaign. (more…)
If you’re a seasoned stock footage producer who has recently upgraded to 4K, you probably already know that your file sizes are suddenly exploding. This leads to the $64,000 question: What codec should I use to export my final videos? (more…)
So, here we all are: at the two-month mark with our Panasonic GH4s, shooting and submitting pixel-packed 4K stock footage clips. I’m very happy with 4K, and love the flexibility it gives me as an editor, and as a contributor, the higher price points at which it sells. (more…)