Getty Embraces Red One 4K...

[Tom Lowe]

Nothing too groundbreaking here, but Getty has finally embraced Red One. This came from their submission guidelines update today:

Of course, Mammoth has been doing this for a while, and Artbeats is already doing Red 4K, I think.

 

[Michael Schrengohst]

As you know Tom the paperwork to become a Getty subscriber is as much if not more than buying a house. istockvideo will probably start accepting RED footage and charge $100 bucks a clip and the submitter gets 20% - Big woop!!
I think Clark over at Mammoth is doing a good job and I think he even shoots with a RED and knows many RED shooters.

 

[Tom Lowe]

Yep. I literally spent 7 months doing the paperwork to get with Getty.... I probably could have adopted a child with less paperwork... hahaha.

Thank god for Phil and Artbeats. They have treated me like gold, and all my future clips, as of now, are going to Artbeats.

 

[Andrew Walker]

I think as a shooter, Getty is one of the worst places to go with...as far as how much you get hosed on the split. I heard that is somewhere in the ballpark of 15% or something like that. I know their big and all but that's just ridiculous I was in talks with Sony's stock footage department and they didn't even try to pull that B.S. Of course they try and get you to pay an upfront fee for putting the footage into their system. That's what steered me away from them. But they were very excited to get their hands on some 4K RED footage...go figure.

 

[Tom Lowe]

What? Sony was trying to charge you a fee? For what?

Getty isn't THAT bad in terms of rev split. I think my deal is 37%.

 

[Andrew Walker]

What? Sony was trying to charge you a fee? For what?

Getty isn't THAT bad in terms of rev split. I think my deal is 37%.

Sony was trying to makeup fees because they don't deal with outside shooters. Most if not all of their stock footage is taken from their feature library. But they were trying to say that it would be around $2K for them to initially get the footage into the system and onto their site. I could not pay that fee but then I would get less of a cut.

Tom, if you got a 37% split from Getty that's the best I've heard. But of course maybe I've heard wrong about the other splits.

 

[ThydNostrum]

But SONY were very excited to get their hands on some 4K RED footage...go figure.

Sony has nothing against 4K footage. In fact they have a 4K projector in the market. They are rumored to be working on a 4K camera (2/3" sensor) for under $10K for 2009 release.

 

[Tom Lowe]

I think 35-40 is standard, isn't it?

You know, one thing I have become more interested in lately is shooting background plates for "virtual" studio work. Francis Kenny posted a link to one of his friend's outfits in LA (I cannot remember the name). They basically just comp the actors and movie scenes onto plates shot around the world. For both timelapse (Red, DSLR) and regular 24p (Red), that sounds like fun shooting to me. I think it pays well, too, to the extent that they are looking for outsiders to help them.

 

[Andrew Walker]

Sony has nothing against 4K footage. In fact they have a 4K projector in the market. They are rumored to be working on a 4K camera (2/3" sensor) for under $10K for 2009 release.

I never said Sony had anything against 4K footage. But as we all know here...or at least the ones that have been around long enough. Sony has a problem with Red and talks trash about them every chance they get.

I think 35-40 is standard, isn't it?

You know, one thing I have become more interested in lately is shooting background plates for "virtual" studio work. Francis Kenny posted a link to one of his friend's outfits in LA (I cannot remember the name). They basically just comp the actors and movie scenes onto plates shot around the world. For both timelapse (Red, DSLR) and regular 24p (Red), that sounds like fun shooting to me. I think it pays well, too, to the extent that they are looking for outsiders to help them.

I think 35-40% is non-exclusive. I have a 50/50 deal setup and I got to keep my one big client I have...Warner Bros. I just can't undercut the place that's repping my footage.

Shooting background plates sounds like an interesting job. I wonder, would that be stock footage or 2nd unit work.

 

[J. Bernard Vallon]

I was part of a project for Getty a few months ago. I don't know if they were testing the water or what, I was brought in by the DP.

 

[Rob Gardner]

I have had very good experiences with Getty. They sell my stuff regularly all over the world, pay and report on time and have been great to deal with so far. I am just getting ready to send them another batch of material.
Rob Gardner

 

[Obin Olson]

does anyone ever make any real money with Stock stuff? maybe even a living? just seems like such a waste of time to me...but I don't really know...

 

[Andrew Walker]

I know that the standard rate at Warner Bros. Television is $1000 per 10 second clip. So yes you can make a living off of it...if you really work at it or a show keeps using your clips. For me its some extra money that comes in.

 

[Rob Gardner]

We average about $2,000 a month from Getty. Can't live on it, but its nice to have.
Rob Gardner

 

[Steve Sherrick]

does anyone ever make any real money with Stock stuff? maybe even a living? just seems like such a waste of time to me...but I don't really know...

Besides the money, it's a great way to stay sharp and come up with great shots/compositions. It's not always about making a ton of money. If you have downtime, I think it's a great way to keep yourself shooting.

 

[Mark L. Pederson]

We had a great meeting with Mike Epp & Andy Ferullo from Getty back in March of this year and provided them with .r3d files for testing. They seemed extremely excited about all things RED.

 

[Steve Gibby]

does anyone ever make any real money with Stock stuff? maybe even a living? just seems like such a waste of time to me...but I don't really know...

The most valuable physical asset of any production entity, whether it is a giant studio down to a one-person company is the footage library that they own the rights to. If that footage is effectively leveraged out and put to work, especially if its a library with broad range and evergreen subject matter, it is a renewing resource of ongoing revenue. 4k and 3k footage from RED is in very high demand, as is some 2k footage from RED in high frame rates. Stock footage is a very important part of my business model. It is the "mailbox money" that comes in the form of recurring royalty checks. Whenever I'm not working on one of my projects, I'm usually out shooting stock footage of various subjects.

Done well enough and long enough, you can do nothing but travel around and shoot stock footage - never taking vacations, but rather "business" trips to get stock, which are in turn write offs for tax purposes.

Show me a production entity of any size from large down to a single person who are ignoring the fiscal possibilities of stock footage, and I'll show you someone who is missing the boat on maximizing their time and resources.

I definitely recommend Mammoth HD. You can check out MHD at the link in my signature block at the bottom of this email. Artbeats is also very good.