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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Huge Gibby Red collection at Artbeats

Thanks for that added info Phil. I'm happy to have my new RED footage collections represented by Artbeats :)
 
Thank you for those kind words Frank...

Yes, it has been great visiting with you at NAB. Its always good to chat and compare notes with you.
 
Seven new pages of my RED footage clips have now been added to my Artbeats collections - pages 13 through 19. There are lots of pages of additional subject matter yet to come.

Link: http://www.artbeats.com/footage/search?fh44=1

I shot all of my Artbeats RED footage with a crew of one (me!), hiking or pedaling my mountain bike and small bike trailer into the locations, using lightweight hybrid RED setups - 35mm stills lenses (mostly Nikon, but some Canon), no matte box (screw-on filters), no follow focus (hand racking lens), eye focusing using 1:1 magnification, exposing using just zebras and histogram, Miller 55 head, Miller Solo 1505 CF legs, and a cine saddle where needed.

When I produce, direct, DP, or shoot for large productions, its with a large crew - but when I'm not doing that you can find me out by myself shooting footage like what I shot for this Artbeats collection.

RED One can easily be a 1-person camera...if you open your mind to the possibilities, and develop the skills to shoot by yourself. You simply grab your lightweight RED rig and go out and get some images - just for the love of shooting.
 
Thanks for that description of your portable setup, Steve. So the legs and Miller 55 head are about 15lbs? I completely understand about using screw-on filters. That right there drops the bulk of your setup dramatically. Another option, I suppose, would be to go with a simple screw-on Cokin P filter setup when you really need it, so you have more control over the grad NDs, for example. Although, once you do that, you will probably need the Cokin mattebox as well to guard against flares, etc, so it's a bit of a slippery slope.

Hopefully we'll be able to do some really stripped-down setups up Scarlet and Epic with screw-on filters and still lenses to make it very light, portable, and perhaps, even a little stealthy. :wink5:
 
Yes, the Miller 55/Solo 1505 CF legs combo weighs just 13.8 pounds - an easy load to shoulder-sling for hiking.

My mobile setups with RED are all about "form follows function". Nothing is carried and put on the camera that doesn't absolutely need to be there to get the shots - thus no matte box, FF, etc. Every ounce I carry reduces my mobility.

Being smaller, and even more modular, Epic and Scarlet should open up some very cool new possibilities for mobile production. With them I definitely won't use screw-on filters - no MB and FF. In stripped down hybrid mode they should be incredibly cool for low-profile, POV, "stealth mode", and guerilla-style permit avoidance! Those with broad minds and attitudes should get some mind-blowing footage with stripped down hybrid style Epic and Scarlet setups.

Fun times ahead...
 
Steve Gibby said:
Seven new pages of my RED footage clips have now been added to my Artbeats collections - pages 13 through 19. There are lots of pages of additional subject matter yet to come.

Link: http://www.artbeats.com/footage/search?fh44=1

I shot all of my Artbeats RED footage with a crew of one (me!), hiking or pedaling my mountain bike and small bike trailer into the locations, using lightweight hybrid RED setups - 35mm stills lenses (mostly Nikon, but some Canon), no matte box (screw-on filters), no follow focus (hand racking lens), eye focusing using 1:1 magnification, exposing using just zebras and histogram, Miller 55 head, Miller Solo 1505 CF legs, and a cine saddle where needed.

When I produce, direct, DP, or shoot for large productions, its with a large crew - but when I'm not doing that you can find me out by myself shooting footage like what I shot for this Artbeats collection.

RED One can easily be a 1-person camera...if you open your mind to the possibilities, and develop the skills to shoot by yourself. You simply grab your lightweight RED rig and go out and get some images - just for the love of shooting.
Click to expand...
Hi Steve,
great to see such a lot of your fantastic stock footage!
I´m -beside my big jobs- all the time with my RedOne on "business trips". I love as well light setups , beeing out in the nature and shoot nature and wildlife. The only thing I´m still searching to safe more weight is a screw on filter 77mm IRND 0.9. It´s the one I use most, and the Panchros with Mattebox are just to heavy for trips. Do you have any solution?

Thank you once more for your always kind words and advises on this forum!
Marc
 
Thank you for the kind words Marc...much appreciated. Happy to help...

I don't have a 77mm IRND filter recommendation for you. I use single ND filters in either .3, .4, .6, .8, and .9 strengths. I don't stack them, I don't use ND filters above .9, and I've had no problems with IR contamination.
 
Congrats there Steve! I have become inspired to shoot some stock footage myself.

I went out sunday morning with a R1 and captured a beautiful sunrise. Should I build up my collection of stock first before I try to sell it? Or could I go ahead and try to submit it somewhere? Also, how do copyrights come into play (as I don't have copyright status yet).
 
Peter Mosiman said:
Congrats there Steve! I have become inspired to shoot some stock footage myself.

I went out sunday morning with a R1 and captured a beautiful sunrise. Should I build up my collection of stock first before I try to sell it? Or could I go ahead and try to submit it somewhere? Also, how do copyrights come into play (as I don't have copyright status yet).
Click to expand...

Go for it Peter! The added bonus of shooting stock footage in your free time is that it keeps you current with your camera, and your skill sets using the camera increase with practice time.

I'd say you should build at least a good sampling of your stock footage before making a move for a stock house to represent it. Shoot as many different subject matters as possible, and use a wide variety of framings and approaches to it.

Copyright laws can be different in various areas of the world, but for instance in the USA, when an artist of a creative work, in this case a cinematographer, shoots their work, it is automatically covered under USA copyright. If challenged on it, you must be able to demonstrate that you did in fact create the shots. With RED, metadata can help in that. To be even more safe on copyright, you can officially file copyright paperwork with the governing body for such. Its then more easy to legally defend your copyright to the shots.

Almost all stock footage represented by stock footage companies is on a non-exclusive basis. As the owner of the footage you are free to have your footage represented elsewhere, and you always retain copyright to your footage, unless you specifically sell your footage outright to someone. Normally clients don't "buy" your footage, simply "license" your footage for their use. Rates vary depending on format, their intended use, length of the clips, duration of their use, etc.

Keep this in mind:
The single most valuable asset of a production entity - whether it is a single person or a giant studio - is their good-quality, future-proofed format footage that they own the copyright to.
 
Steve Gibby said:
Go for it Peter! The added bonus of shooting stock footage in your free time is that it keeps you current with your camera, and your skill sets using the camera increase with practice time.

I'd say you should build at least a good sampling of your stock footage before making a move for a stock house to represent it. Shoot as many different subject matters as possible, and use a wide variety of framings and approaches to it.

Copyright laws can be different in various areas of the world, but for instance in the USA, when an artist of a creative work, in this case a cinematographer, shoots their work, it is automatically covered under USA copyright. If challenged on it, you must be able to demonstrate that you did in fact create the shots. With RED, metadata can help in that. To be even more safe on copyright, you can officially file copyright paperwork with the governing body for such. Its then more easy to legally defend your copyright to the shots.

Almost all stock footage represented by stock footage companies is on a non-exclusive basis. As the owner of the footage you are free to have your footage represented elsewhere, and you always retain copyright to your footage, unless you specifically sell your footage outright to someone. Normally clients don't "buy" your footage, simply "license" your footage for their use. Rates vary depending on format, their intended use, length of the clips, duration of their use, etc.

Keep this in mind:
The single most valuable asset of a production entity - whether it is a single person or a giant studio - is their good-quality, future-proofed format footage that they own the copyright to.
Click to expand...

Fascinating! Looks like I have quite a bit to learn. When I get the Fixed, I'll be free to shoot as much stock footage as possible in a format that should hold up for a long time to come. I intend to shoot at least something everyday. Some wonderful days are in the near future.

I will definitely be keeping my eye out for possible stock footage opportunities.

Another quick question...Now I understand that everything depends on the circumstance but how long is a recommended recording time for stock footage?
 
Peter Mosiman said:
Now I understand that everything depends on the circumstance but how long is a recommended recording time for stock footage?
Click to expand...

Recording time can vary by subject matter and intended use of the footage. A normal b-roll type shot may be around 10-12 seconds. If a shot will be ramped to get a time lapse look, it will be much longer, maybe around 30 seconds - or longer.

Don't forget to have fun out there!
 
Steve Gibby said:
Recording time can vary by subject matter and intended use of the footage. A normal b-roll type shot may be around 10-12 seconds. If a shot will be ramped to get a time lapse look, it will be much longer, maybe around 30 seconds - or longer.

Don't forget to have fun out there!
Click to expand...

Ha so say I shot a sunrise at 24fps. It takes about ~10 minutes for it to rise above Lake Michigan. I'm guessin' thats a tad long? =]
 
Nice footage Steve. I just sent in some footage to Artbeats. None of it is RED footage yet, its all of my older timelapse footage shot on the Canon 20D and 40D. I just need to find some RED footage that would have a good home at Artbeats. So far I do far better selling footage on my own than I do through a company. But that seems to be changing a little bit.
 
Peter Mosiman said:
Ha so say I shot a sunrise at 24fps. It takes about ~10 minutes for it to rise above Lake Michigan. I'm guessin' thats a tad long? =]
Click to expand...

You may want to shoot that as a time lapse if it was that long. Alternately you could just record it linearly, then ramp the speed of the clip in post to give it a time lapse look.
 
Thanks Andrew. Good luck getting your footage represented...

Good RED footage shouldn't be too hard to find a representation for. Artbeats is excellent to work with, as is Mammoth HD. Both of them represent my RED footage.
 
Steve Gibby said:
Thanks Andrew. Good luck getting your footage represented...

Good RED footage shouldn't be too hard to find a representation for. Artbeats is excellent to work with, as is Mammoth HD. Both of them represent my RED footage.
Click to expand...

I already have footage represented at two other stock footage houses besides Artbeats. Artbeats is the first stock footage houses that I've been with that is royalty free. So hopefully that will mean I can move some more footage through them. Or at least hit another market that doesn't want to go the royalty route.
 
Steve Gibby said:
Thank you for the kind words Marc...much appreciated. Happy to help...

I don't have a 77mm IRND filter recommendation for you. I use single ND filters in either .3, .4, .6, .8, and .9 strengths. I don't stack them, I don't use ND filters above .9, and I've had no problems with IR contamination.
Click to expand...

Hi Steve,
I just received a Tiffen ND set and it works great. Thanks for the advise, its a lot less weight now.
How do you resolve the problem of the clip duration when you offering R3D to the clients? I mean those shoots which are sometimes several minutes long and only 10-12 seconds are for final use.
Hopefully we can soon export trimmed R3D files.
Have a great day!
Marc
 
Hi Marc,

I don't solve clip duration to my stock clients, the stock footage companies who represent my footage do that. That said, when I'm out shooting stock footage, or for that matter whenever I shoot, I shoot "for the edit". My shots are carefully timed, framed, composed, exposed, and focused. This is a film-style philosophy - I don't hit the record button unless it is a good shot. That's not to say I don't work quick - the trick is to be creative and quick at the same time, which takes practice. This saves me time and drive space in the field - and it saves my editors and stock houses a lot of time and effort in processing the footage.

If you're going to shoot stock footage, it will help you a lot if you ask the stock companies you plan to deliver your stock to, the technical and aesthetic parameters they want in the shots they receive - and the subject matter they need the most.

I do agree that a quick and easy way to trim and export R3D files would be great. I'm sure RED realizes that and will offer that sometime soon.

Glad the filters are working out for you...have fun out there shooting!
 
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