Stock Footage Unlocked

1. Welcome UDEMY 1: Alright, welcome to stock footage unlocked. You're officially ahead of the game. A lot of videographers don't realize the potential of stock footage or they don't know how to get there. So that's what I'm gonna show you the ins and outs of how to create a successful stock footage income stream. I've been selling stock footage since 2014 and I'm going to tell you exactly what I've learned since then and how I currently go about shooting, editing, and selling my own footage. So no matter what your videography or filmmaking niche or background is, if you're shooting videos, you can be selling those videos and making passive income from it. My goal is to be here to help you get where you're actually making steady, consistent sales with your footage. Really, I can't say enough good things about selling stock footage. I think it's probably the most underutilized niche in the videography or filmmaking world as far as making money with your work. I love shooting and selling stock footage, and I honestly love talking about it. So feel free to say, Hey, introduce yourself in the group. And when you've done that and you're ready, you can go ahead and check out the next lesson. 2. BACKBONE v1: Okay, here at the beginning of the course, I wanted to talk a little bit about what I call the backbone of selling stock footage. Over this course, I'm gonna be going over a lot of specifics and little details to help you build your portfolio and make sales. But there are three main cornerstones to selling stock footage successfully, content, keywords and consistency. These three areas are selling stock footage boiled down to its most basic parts. If you focus on these, you're gonna be successful and you're gonna be making consistent income content. This is your subject matter and cinematography. This is what you're shooting and how you're shooting it. I break down all about how to improve your content more in module one, keywords, this is the key to getting discovered. If you have the best footage in the world, but you don't have any good keywords. No one's going to find your footage and you're not gonna make any sales. But I'll go over everything you need to know about keyboarding later in module three. Consistency, more clips equals more sales. I touched on this in my masterclass if you saw that. But the idea is you need a system in order to be creating on a regular basis. It's a super common mistake for videographers to upload five clips to sell, and then they just sit back and wait for the money to roll in. But you won't be making consistent income until you have a decent stock footage portfolio built up. This doesn't mean you have to be creating stock footage nonstop forever. For me, it took until I was about at one to 200 clips before I was getting consistent sales. Side note, if that sounds like a lot, it's really not that much. You could easily have 200 clips ready to go in a week or two if you wanted. But I talk all about how to create a system for consistency later in module five. So if you really want to knock it out of the park with stock footage, you have to be focused on content, keywords and consistency. And if you do that, you're going to do awesome. You're gonna be making money. And if you're like me, you'll be wondering why you didn't do this a lot sooner. So that's just my quick overview of stock footage basics. You can go ahead and jump on into module one, and I'll see you in the group. 3. TYPES OF SHOOTS v1: Alright, so in this module I'm gonna be talking all about filming. I've broken it down into types of shoots, which is focused on how to go about getting footage, what to shoot, which is focused on subject matter and what kind of footage cells, how to shoot, which is focused on cinematography, gear and things to avoid when shooting releases and editorial versus commercial footage. So for this lesson, I'm focusing on types of shoots, the when, where, and how to actually shoot your stock videos. So selling stock footage will look differently for everyone depending on your career and your style of filming and the kind of content you want to film. But in my experience, there are three main types of shoots. When stock footage is filmed. A job shoot, an impromptu shoot, and a stock shoot. A job shoot. This is when you're out on another job. It could be a corporate video, music video or wedding, a brand video or anything else. And while you're on location shooting for this other job, you're also getting B-roll that you'll sell a stock footage that's on the back of your mind. You'll just know that you want to sell this footage. So you'll be aware of the kind of shots to get and how to shoot them, knowing that your end goal, in addition to doing the job you're on is to sell it a stock footage. So I'll go over exactly what those things are and what you want to keep in mind when you're shooting later on in the how to shoot lesson. But you wanna make sure when you do this type of shoe to definitely talk to whoever is in charge of the shoot and get permission to sell your footage. If you're working for another brand, you want to be sure they're okay with you actually sound the videos. They don't have an exclusive right to the footage or anything like that. So be sure to work with them ahead of time, work that out with them and make sure you're on the same page. And obviously make sure you have the rights to the footage that you're shooting. Impromptu shoot. This is taking your camera and shooting whatever catches your eye. So I shoot a lot of travel footage and that would fall into the impromptu shoot category. For my travel footage, I take my camera with me on trips with my wife and we go out exploring. And when we find a cool location, I film her or I film wildlife or get some drone shots. And this is all impromptu filming, so it's not planned beforehand. I'm just shooting what catches my eye if I see a co-location or cool building or anything, I just film whatever that is. You can do this on your own in your hometown. You can take your camera to your local park or downtown and just look for interesting looking people doing visually interesting things. So this could be teenagers skateboarding, an old man feeding birds at the park, a woman reading a book, if someone catches your eye and you say that would be a really great shot, just approach them and tell them you're a stock footage filmmaker and ask if you could take some video of them doing exactly what they're doing, you'd be surprised at how willing people with B2B models, if you're polite and professional, just make sure they're willing to sign a release before you take the time to actually shoot. But the way I do releases a super easy, it's all done on your phone. And I'll go over everything about Releases later on in this module, in the release lesson. But this type of impromptu issue is also great when it comes to getting diversity into your footage. Diversity is super important when you're shooting stock footage. And if you go to a public area with lot of people, it's a great opportunity to interact with lots of unique, interesting people that you might not ordinarily get a chance to film. So it's a great way to add variety and diversity to your stock footage portfolio. Stocks shoot. This is a shoot that scheduled and plan specifically for the purpose of filming stock footage. You say, let's go to the park and get shots of Tony playing catch with his dog. You plan it out ahead of time. You think of who you want to be, your talent and what you want them to do and read out a shot list. So shooting a cinematic sequence. In general, the best way to shoot stock footage is to think in sequences, not just shots when you're doing this type of shoot. And really when you're doing any type of shoot, you want to focus on telling a story. So that's one reason I highly recommend writing a shot list ahead of time to keep your story organized. If we're shooting Tony playing catch with his dog at the park, your sequence could look something like this. Tony enters the park with his dog. Tony takes off the dog's leash. Tony throws a ball. The dog runs across the field. The dog catches the ball. Pets the dog. Pretty easy. That's six actions right there that show a whole scene. So if you only shoot wide, medium, and tight of those actions, That's already 18 videos that are ready to upload and start selling. And then on top of that, you can get additional shots like tracking shots, dolly shots, extreme close-ups or any other creative angles, movements, anything extra you can think of. And you could easily come away with 50 clips ready to go just from hanging out with Tony and his dog at the park for an hour. So those are my three types of shoots. They're all good methods for getting footage. Maybe you only use one of these styles, maybe use all three at different times. You just have to find out what works for you. 4. What to Shoot Seq 1: For this lesson, I'm focusing on what to shoot, what kind of subject matter you should be filming and selling stock footage. So a lot of times your subject can be even more important than your cinematography. You can sell an average clip of a good subject better than the picture perfect clip of the wrong subject. In my personal experience, a lot of my shots I thought were amazing, didn't get any sales. And then some shots I thought were just okay, ended up getting tons of sales. So it really just depends on the clip and it can come down to the content over the cinematography. As for what you should be shooting, the specific subjects you could fill them are literally limitless. You can really sell videos are pretty much anything. But what I wanna do in this lesson is give you guidelines of what kinds of footage make the most sales. And then I'm gonna give you some questions to ask yourself to help you figure out what kind of footage use specifically should be shooting and selling. So first I'm gonna go over what kind of footage cells and what footage doesn't sell. The top three broad categories that I see the most sales from our people, lifestyle, and travel. Those categories can be pretty broad. So I'm just going to run through each of them and give you some context for each. The number one subject that sells for me is people. So people is a pretty broad category, obviously, just people, it's kinda vague, but videos that contain people sell so much better than videos without people and videos of people. It doesn't necessarily mean it's their full body or their face. It could just be their hands, their feet walking, it could just be the back of their head, but footage that has a person in it doing something will always be a good seller. This is a clip I shot a couple of years ago in New Zealand. It's a pretty cool shot. It's got that dramatic mountain landscape, but it didn't get nearly as many downloads as this clip. This is my wife Shelby, looking out at that same mountain landscape. This video, sales so much better. So why does this happen? What is it about a shot that has a person that's so much more marketable than just an empty landscape like this. Well, for one thing, it gives the video context so the viewer can mentally put themselves in the place of the person in the video, so it allows them to connect with it more. If you think about TV shows, most people would rather watch a show that has a story with characters that you can relate to, rather than just a show that's just a slideshow of beautiful landscape shots. People are drawn to images of other people. So when a shot has a person in it, It's just automatically instinctually going to be more appealing to the person looking at the footage for their project. So from a purely compositional perspective, the clip with the person and it has something that the eye is drawn to. So it's just more naturally visually interesting. So I tried to put people in my videos as much as possible. And most of that footage falls into either lifestyle or travel footage. Lifestyle. This is one of the best categories for selling stock footage. It's also one of the broadest lifestyle could really be any video that depict something from your everyday life. This is super easy to shoot because it can take place at or around your house or city or work or anywhere you go on a normal day. And there's a huge demand for this type of footage. People want to use footage that shows realistic depictions of everyday life. You can see I've got people working, exercising, hanging out normal everyday activities. These clips are gonna be great sellers. Travel. The footage I probably shoot the most is travel footage. And my personal top bestselling clips or travel videos that I filmed on vacation. But travel footage doesn't have to be this kinda outdoorsy nature footage. It could also be cityscapes or adventure or road trip footage. But for me, I'm mostly shooting outdoorsy stuff, so that's what sells for me. So people, lifestyle and travel are three broad categories that I see the most success from. But a couple of secondary categories that I get regular downloads from would be wildlife and aerials. Wildlife. Because I shoot a lot of travel footage. I get a good amount of animal and wildlife footage. And that sounds pretty well. These are my top selling animals slash wildlife videos. I actually recently just randomly came across this shot of mine while I was watching the show running wild with bare grills on Nat Geo. So that was pretty cool. Someone just purchased that clip and used it as bureau for the show. I say that because this is really a pretty average clip, you can see there's not much to it. And it was featured on a big TV show. Really anyone can shoot footage and it can end up getting purchased and end up on TV. Something to keep in mind with animal and wildlife footage is try to make your animal and wildlife videos unique. Footage of birds or squirrels in your backyard. Probably not going to sell it well, even if you think you have the best squirrel video ever created, your time is probably spent better getting other videos, but a unique animal out in the wild or any unique location as the potential to sell better. Aerials. I love flying my drone, and I love shooting drone videos, but they don't really sell quite as well as irregular lifestyle videos. The areas that do so well are ones that either have a specific subject or are unique like from a unique angle. Here are some of my drone videos that have made sales. So these are successful because they have a subject like a house or animals, or a unique point of view, like the spinning in the snow. The areas that don't sell are ones like this. This New Zealand video, this is a beautiful place, but it doesn't have a specific focal point or a subject. And there are thousands of other beautiful mountain drone clips on stock footage sites that this is going to be competing with. So if you're getting drone footage, you should try to shoot a specific subject, like a person, a car, cityscape, even just not a landscape that doesn't have an obvious focal point. But drone videos can be an awesome addition to your portfolio. But I wouldn't make them your main focus. What style videos should you shoot? Selling stock footage doesn't just have one specific style. Anyone with a decent camera can sell their videos. But there are two things. Stock platforms are always looking for. Authenticity, diversity, authenticity. Most people who need stock footage these days aren't looking for this. The stage unnatural videos from 20 years ago that people make fun of. No one really wants that, unless it's a joke. But 99.9% of the time, no one was looking for that. What people are looking for is videos of real life, or at least realistic depictions of real-life. Marketers have realized that people watching video content want to see real people. You know, you can kinda tell when something feels phony or not authentic. So what cells best is real people acting like real people? Diversity. Another big thing stock platforms are looking for is diversity. Could be gender, ethnicity, age style. They want to see people of all different backgrounds being real and authentic. Here's one of my older top-selling clips. I think one reason it's resonated with people and been downloaded so many times is just because they're a middle aged couple. So they stand out from the more common footage of couples in their 20s frolicking on the beach that could be more stereotypical. But also they look authentic. There are real husband and wife and friends of mine. They were just hanging out being themselves. When I got the shot for a commercial project I was working on. So it helps to have real people you know, who you can film and diversity and authenticity go along way. Okay, Now that you know that things that do sell, I'm gonna go over what doesn't sell. Rule number one is whatever you film makes sure your footage has a discernible subject. Videos without a discernible subject don't sell well, but here's some other things that you also want to avoid when you're filming empty landscapes. Even if it's unbelievably beautiful scenery, it probably won't sell as well at the same shot with an animal or person in it. Still life, flowers, trees, unmoving objects. These are pretty shots, but they're not visually interesting or different enough for them to stand out and make sales. Now I will say there are always exceptions to these rules. And in theory, anything you upload could sell if you really love shooting landscapes and flowers, and you want to try to upload your landscape and still live footage, you can try to sell it. But I'm just telling you what's worked for me and what I've seen work for other people. I want you to be shooting in selling the videos you love, but I also want you to be making money. And to do that, you have to film the right subject matter. So how do you figure out exactly what you should shoot? So people, lifestyle and travel, or some of the broad categories I recommend. But if you're trying to get more specific about what you specifically should shoot, here are some questions you should ask yourself. What do you have unique access to? It couldn't be a cool location, a city, a house, could be friends and family that are stylish or have a unique look for friends and family with an interesting hobby. Here are some potential ideas for stock shoots to maybe help you jumpstart in coming up with your own ideas. Footage, your friends shopping downtown, couple on a date at sunset. Your grandmother making an elaborate quilt. Your friends paddle boarding at the beach, your roommate cooking in the kitchen, your dad working on his car in the garage. These are just some random ideas I thought of. Feel free to use those ideas if you want, or use those ideas as just a jumping off point for your own ideas. But the point is just think about what unique things you have at your disposal. Another question to ask yourself is, what current events are relevant? So pandemic medical protests clips were insanely popular last year. I clips with people wearing masks, clips of people washing their hands. If you were able to shoot some of those videos early on, you would have made a ton of sales. Sustainability is another really popular topic right now. Social issues is another really popular topic. So just keep an eye out for trends like that in the news and try to get ahead of them. If you see in the news they're predicting a new infestation of murder. Hornets go grab a friend and a beekeeper outfit and get some shots. So try to stay on top of big trending events in the world and see if you can get some relevant footage. Another question to ask is, what do you enjoy filming? Shooting stock footage should be fun. And if you're not having fun taking videos, you'll get burnt out and you won't want to keep doing it. But if you're having fun shooting every day, you'll keep uploading. And that's how you see real growth and success. So you have to ask yourself, what's fun for you to shoot and then go shoot it. What if you need more ideas? One really helpful thing that all major stock footage sites do is send out regular newsletters to the contributors telling them what footage is popular and what footage they anticipate needing. So once you sign up as a stock video contributor on the sites, you can also sign up for their contributor newsletters and stay updated with whatever their research shows they need. It's really cool feature and it's especially great if you're stuck and you don't know where to start or what to start shooting, but actually went ahead and put together the info from those newsletters into a written guide, and I put it into this lesson. So if you want, you can download that and see what the stock footage platforms are saying is needed in the market right now and over the past few months. If you want, you can shoot exactly what they suggest in their newsletters, or you can use it to start brainstorming your own ideas. So that's everything for this lesson. Now that you have a better idea of what kind of subject matter to shoot, the next lesson is about how to shoot. 5. How to Shoot v3: Alright, in this section, I'm going to talk about how to improve your cinematography for stock footage. We're gonna go over camera gear, cinematography tips to make your video standout, and things to avoid when you're filming. Right off the bat. I'm going to tell you, I am not really a gear guy at this point. I think most cameras are at a certain level where they're all producing amazing images and they're all really comparable to each other. And it's really just a matter of personal preference, which one you want to use. So about half the videos in my stock footage portfolio are actually from my Nikon D 810, which is primarily a stills camera. It still produces decent HD video. And the newer stuff in my portfolio is from the past couple of years is from my Panasonic GH five, which is actually what I'm shooting this video on right now. But here is a list of all my stock footage go-to gear right now. First off, I have the GH five. I've had it for a few years and I really love it. It's super compact and lightweight and easy to just toss in a backpack or camera bag when I'm out on vacation or wherever. And it has amazing in camera stabilization. A lot of times I won't even use any kind of stabilizer or Mount. I'll just hand hold it and the shots turn out great. It shoots for k up to 60 frames a second, and it shoots up to 180 frames a second at ten ADP. One thing about the GH five is it's a micro four-thirds camera. So it does have a crop sensor, so you don't get that full frame image. But that really hasn't bothered me too much, especially with the lenses that I use with it. So lenses, my go-to lens for the JH five is my 16 millimeter lens, which is the equivalent of about a 32 millimeter full-frame. And another one of my favorite lenses is a Nikon 24 to 120 millimeter, which ends up being about the equivalent of a 48 to 40 millimeter full-frame lens. Because I shot an icon before I got the GH five, I have a lot of Nikon lenses. So I have this metal bones lens adapter that lets me use all my Nikon lenses on the GH five, I also have the Tiffany Black Pro Mist 1 eighth filter. So what this is, is it's a filter that you put on your lens that gives it more of a filmy look. It kinda softens the highlights that looks really cinematic and nice. I shoot a lot of handheld because the stabilization in this camera is really great. When I do want a smoother shot or I'm doing like bigger camera moves. I use this gimbal. It's as you when Crane. I think this is actually the original version or one of the very first model is they made, they have a lot of newer models now, but they're all roughly this size and shape. It's pretty compact and easy to travel with and makes for really smooth shots. And then my last piece of gear is this, the maverick pro platinum drone. I really liked this drone. It's especially good for traveling because you can fold it up. I can throw it in my bag and bring it with me wherever I'm going. It has a 20-minute flight time on a fully charged battery, and I have two batteries, so it's more than enough time for me to launch it, take it up, look around, getting the shots that I need. I've only had to replace it once. Anyway. There are links to all this stuff in the description if you want more info on them. But basically, I don't worry about trying to get the nicest newest gear. I just use what I'm comfortable with. And as long as I can get great quality video from it, I'm happy. So that's the gear that I use. If you want to use other equipment, that's totally fine. But these are the minimum requirements for gear that I recommend. First of all, I recommend shooting with what you're comfortable with. If you have a decent camera, you don't have to go out and buy a new one just for shooting stock. I still make regular sales from clips like this that I shot with my Nikon DSLR, which is like five years old now. And it's not the best video camera. But if you are looking to get a new camera, I recommend it can shoot at least for k and at least 60 frames a second. For k. So for k is becoming more and more expected in stock footage, HD is still relevant right now and you can still be successful with stock footage if all you have is an HD camera that shoots 1080. But if you want to future proof your videos and you want to be able to submit your footage to some of the higher-end platforms. I would shoot in for k If you're able. So you want to make sure your camera can shoot at least 60 frames a second or higher. So you'll be able to slow down your videos and post during the editing process, I recommend making your stock footage slow motion. That's usually what sells the best for me. And buyers if they want, they can always speed up slow motion footage to make it play in real time, but they can't slow down 24 frames footage without it looking off choppy and weird. So it's not a huge deal if you don't shoot in slow motion, like this clip I just showed you isn't slow motion. Made it a lot of sales, but the majority of my downloads are my slow-motion clips. So if you can, I recommend shooting in 60 frames. So you can convert it down to 24 frames when you edit it and make it slow motion. But I'll go over exactly how to do that when we do the editing module. Stabilization, having shaky footage will really hurt your chances of making sales. You want to either have a really great in camera stabilization or use a gimbal or camera cage. In fact, even if you have really great in camera stabilization, you still might want to use a gambler cage just to make sure your footage is relatively smooth. Shaky footage is one of the main reasons that stock footage sites will reject your footage. So having a way to get smooth, stable footage is definitely something I recommend. Now there is a difference between handheld footage that's shaky in a distracting way like this, and handheld footage that looks intentionally handheld and has some stylistic movement to it like this. So this type of handheld look is fine. You just want to make sure your gear helps you avoid those little shakes and vibrations that don't look good and make your footage look amateur. So those are some of the minimum requirements that I recommend for gear. Other than that, it's up to you what you want to use in your camera and gear. In my opinion, most cameras and lenses are crazy good now and you can get amazing videos from just about anything. There are even people selling stock footage regularly from footage they shot on their iPhones. So what's more important than gear, in my opinion, is your cinematography. I'm not gonna go too crazy with cinematography tips because cinematography could be a course on its own. But if you're here, I'm going to assume you have a basic understanding of cinematography principles. And I'm just going to focus on a few basic cinematography tips that I use when I'm shooting stock videos. So first of all, there's not really one stock footage style of cinematography. No matter what your videography background is, if you're shooting well composed well that shots, you can sell them as stock footage. But here are some super easy ways to really improve your videos quickly if you're not doing these things already. Get wide, medium and tight. This is like cinematography, one-on-one stuff, but it's super-important in shooting stock footage. So this is how you can grow your portfolio really fast with anything you're shooting. If you get wide, medium, and tight, you automatically have three clips instead of just one. So the reason you do this is you never know what someone will need your stock footage for. So you want to give them options and shooting wide, medium and tight is one of the best ways to do that. So here's an example of a shot from a wide medium annotate. Right there we have three clips and someone might want all of them. Someone might want a specific one, but it's a quick, easy way to add variety and diversity and add quantity to your stock footage portfolio. Creating depth. So creating depth is just a way of making a more immersive, visually interesting shot. And there are a couple of good ways to do this. One, you can use a shallow depth of field. So a couple of ways you can get a shallower depth of field, or by either shooting at a lower F-stop or by moving farther away from your subject and using a longer lens. Both of these create that blurred background look that make your subjects stand out. So another way to create depth is by putting more space between your subject and the surroundings. So instead of having your subject against the background, you can move them out to create separation and add depth. Another thing I like to do is look for something to put in the foreground. So instead of framing like this, you can frame the shot like this. It's got that little bit in the foreground that just creates a little bit of depth and it's more visually interesting. Use movement. Another thing is using movement. So moving the camera will automatically make for a more immersive video. Could be pushing in, follow shots, dolly shots or anything else. Really, none of the footage that I shoot as ever locked off on a tripod or static, I always try to add some kind of movement. Even if it's just barely moving. That doesn't mean you have to avoid tripods. But a lot of the type of footage that I shoot is more documentary style. Or even the quote unquote static shots have a little bit of that handheld movement. But even if you don't shoot like that, I would still encourage you to use some kind of movement in your shots. Obviously, that doesn't mean go like this. Move your camera all around when you're shooting for no reason. But even just a slight move left or right can help make the shot a little more dynamic. So here's an example of two of my top selling clips. So these are actually in my top ten most downloaded Eclipse ever. And they happen to be both pan up follow shots. I've found that these kind of shots can do really well and they're super easy to shoot. And that can be used in a lot of different video projects. So obviously it helps to be in a cool location like these, but really you can take advantage of whatever location you have available. Adding that movement will really help your footage standout. Lighting. So I can't talk about cinematography without talking about lighting. I almost never set up lights for my stock footage shoots because most of the time I really don't need to. Most of my footage is impromptu and a lot of it is travel footage. So I don't have this time or space to haul around lights and set them up every time I want to shoot, I just have to use the light that's available. And since most people are looking for stock footage that feels more authentic, they don't really want, they're not looking for that overly produced, perfect studio lighting for videos they use anyway. So how do you utilize natural light? One basic way to utilize natural light is to shoot when the sun is low in the sky. Shooting just before or just after sunrise or sunset gives you that nice golden hour or blue our look. But what you typically want to avoid is shooting around 11 to two PM when the sun is directly overhead and creating really harsh, unflattering shadows. Another easy way to utilize natural light is to backlight your subject. In other words, put your subject between you and the light source, which is usually the sun if you're outside or a window if you're inside. So sometimes I'll actually put the sun in the shot, which creates more of a silhouette of your subject and maybe some nice lens flares, but that's a stylized shot. And if you're not going for that kind of silhouette flare Look than I usually try to put my light source at about a 45-degree angle behind my subject that's just out of frame. And that usually it looks pretty good. So these are just general lighting tips obviously. And there could definitely be times when you want to shoot in different lighting conditions. But hopefully these are a few easy tips that can improve your shots and make them look more cinematic. Clip link. Okay, changing gears a little bit. One question I get from people is how long should my video clips B. So most stock footage platforms require your clips to be at least five seconds and no more than 60 seconds. But the sweet spot that I've found is around ten seconds per clip. You can obviously trim your clips when you're editing them. But when you're filming, I would try to hold each shot for at least ten seconds. As a general rule of thumb over recording is always better than under recording. You can always edit out part of a clip you don't need, but you can't add footage and post that you didn't shoot. And you can't go back in time to shoot something differently. So hold each shot for at least ten seconds and you should be good breaking the fourth wall. So this is one filmmaking rule that you can break when you're shooting stock footage. There's nothing wrong with breaking the fourth wall. If you're not familiar with the term breaking the fourth wall in filmmaking is when someone looks directly at the camera or acknowledges that they're in a video in some way. Oh, hello. In stock footage, this just means it's okay sometimes for people to look directly at the camera, this is actually a really common and useful shot you can do where your subject is in their environment and they're just looking right down the barrel of the lens. They could be smiling or looking serious. I would avoid the thumbs up. But this is a popular shot and super easy to get no matter what environment you shooting in. So these are some tips that should help when you're starting out shooting for stock footage. But the best way to improve your cinematography is just to shoot a lot. The more you shoot the memorial, figure out what looks good. And now that I've gone over cinematography tips, I want to go over things to avoid when shooting stock footage. So here's some things to avoid that might get your videos rejected from stock footage platforms. Shakiness, you want to make sure your footage is nice and smooth. That exposure. You want to always exposure image properly and make sure your highlights are blown out and your shadows aren't too dark, noise and artifacts. So this can also happen when your non-exposed correctly. You want to make sure you know your cameras limitations and how much you can bump your ISO before you start seeing a lot of that noise, crowds. So unless you're shooting editorial footage, you can't show people's faces unless they sign a model release. Being out-of-focus. So try to keep your subject in focus. It doesn't have to be perfect 100% of the time. But if your subject is super blurry, your clip we'll probably get rejected. And intellectual property. Intellectual property includes logos, trademarks, brand names, and commercial products like toys, electronic devices, or recognizable vehicles. So avoiding logos is especially important when you're doing an impromptu shoot, right? Taking your camera out in public and shooting whatever catches your eye. You don't realize how many logos are out there in the world until you try to shoot stock footage in public. Unclos, bags, hats, signs, billboards in the background that they are literally everywhere. So just try to be super aware of that when you're framing your shots to save yourself a headache when you go back through your footage later and see there was a Starbucks logo on the coffee cup that was in all the shots. And now you have to figure out how to edit it out or scrap all those shots. So just be aware of any logos in your frame before you hit record. The last thing I want to talk about in this lesson is about selling your footage. You already have. If you're a somewhat experienced videographer or filmmaker, you probably have footage on your hard drives from past projects you've worked on. And if you're just getting into selling stock footage, you're probably wondering how to sell that footage. So all these same principles I went over in this lesson, also applied to the footage that you already have. If you think you have some great footage from past projects, just open up that project file and look for clips that have these characteristics that we've talked about. So a good discernible subject, good lighting and composition, smooth, stable footage, know shaky, jerky shots, clips that are at least ten seconds long, no visible intellectual property or logos, and no identifiable people unless you have releases or you can get releases. So that last one is gonna be the potential roadblock for selling old footage. If you have great footage you shot two years ago. But obviously the talent didn't sign a stock footage model release. If it's a close family member or friend in the footage, it shouldn't be hard to get a release. Hopefully, you can email them the release or have them sign it the next time you see them. But if it's someone you don't know as well, I would still suggest sending them an e-mail or a text and asking them to sign the stock footage release. The release for stock footage is totally digital, so you don't have to ever meet up with them to sign anything. It's super quick and easy. But I'll go over more about releases in the releases lesson. And then once you have the release, you can upload the footage just like any other stock videos you shoot. So really all the same principles apply, whether it's new footage or old footage. But one piece of advice that I would give is don't try to upload all your old videos at once. I talked about this in my masterclass. But if you have hundreds of old clips that you want to try to sell a stock footage. It's super easy to get overwhelmed. If you've never sold stock footage before, I recommend starting with just a handful of clips, like ten clips maybe. I recommend starting with those clips from the same shoot, just so it's one concise set of videos. And do the whole process from start to finish with just those ten clips from exporting, key wording to uploading. So that way you get an understanding of how the process works just with that small set of footage. And then you can move on to doing the next handful of clips. But I don't want you to be intimidated by this mountain of old footage that you have to sort through, you can sell anything. So just try to take it in little sections, start small and it shouldn't be a lot easier. And you'll have videos up on your portfolio sooner, making sales faster. But that is only if you have existing footage that you want to sell. If you're just getting started, then the shooting tips in this lesson should help you improve your cinematography when you start filming stock footage. And that about wraps it up for this lesson. I know I went over a lot, so feel free to reach out if you have any questions. And when you're ready, you can move on to the next lesson. 6. Editorial Vs Commercial v1: Alright, editorial versus commercial footage. So these are the two different types of footage that stock platforms will accept. And basically what this refers to is where the footage can be used when someone downloads it. So when someone downloads a videoclip, they either download it with a commercial license or an editorial license. Commercial. With a commercial license, the footage is used to advertise or promote a product or service. This is the most popular type of footage and every stock footage platform will let you upload commercial footage. My footage is all commercial as of right now, I really haven't uploaded any editorial footage. I don't have anything against editorial footage is just my style of shooting is commercial. So one thing to note with commercial footage is if there are people in your footage, you always need a model release. So any identifiable person in the video will need to sign a release. Editorial footage. So Shutterstock defines editorial footage as footage used to illustrate newsworthy and current events or subjects of human interest. Upon five defines editorial footage as content meant to inform and educate. So they're both pretty much saying the same thing. The core of editorial footage is it's informative documentary type of footage as opposed to advertising type of footage. So here's some examples of what could be considered editorial footage. The aftermath of a natural disaster. Rallies, demonstrations, protests and riots. Political speeches that are open to the public. Extreme weather and natural disasters, man-made disasters like explosions and fires. Newsworthy sporting events open to the public, like marathons and adventure races were parades and festivals. You can see there's a lot that could fit into this category of news-worthy footage. To give you a specific example, one type of video that did really well this past year were videos of protests. So people are out marching in the streets holding up signs. That kinda footage did really well this year. But what makes editorial footage so appealing is you don't need a release. Probably the biggest advantage of shooting editorial footage is you don't need to get releases from any of the people in your videos. You can fill in a crowd of people in the street with dozens of identifiable faces. And if you upload it as editorial footage, you don't need to get releases from any of them. Now what this doesn't mean is that anytime you forget to get released from someone in your video, you can upload your commercial footage as editorial footage. Because stock footage sites can be really strict about what actually counts as editorial. And they won't always accept videos as editorial unless it's obviously something that's newsworthy. One disadvantage to shooting editorial footage is not every stock footage site will accept it, whereas every site accepts commercial footage. Right now, two out of the four stock footage sites that I recommend allow you to upload both commercial and editorial footage. So editorial footage is still definitely were shooting. It's just not quite as popular as commercial footage. But if there's a big newsworthy event going on near you, I would definitely take advantage of that. Get your camera and get some footage of whatever's going on. Editorial footage can also be somewhat location dependent. If you live in a huge city, you might have more newsworthy things to film than someone living in a small rural town. But even in a small town, there could be parades, festivals, extreme weather conditions, or other newsworthy things that could be happening that would definitely count as editorial. So take a look at your local news or your cities event schedule and keep an eye out to see if there's anything interesting or noteworthy happening near you anytime soon and go out and plan to get some videos of it. Also, I should point out some of the examples I gave have the potential to be unsafe. Protests, natural and man-made disasters. So just be smart and safe if you're filming these things. Don't go on Night Crawler and put yourself in danger to get the shot. Just be safe and keep your distance if a situation looks like it might be dangerous. But that's the overview of commercial and editorial. I recommend trying both and seeing what you think you like. I think shooting a little bit of both is a good idea to give you some diversity in the style of videos in your portfolio. 7. Releases SEQ 1: Okay, releases everybody's favorite part of making videos. The paperwork. I used to hate dealing with releases every time I shot stock footage, either you had to bring documents with you to the shoot for the talent assign, which can just be an extra nuisance or we had to try to email them back and forth to get them to sign it and scan it. And then every stock footage platform has a different release they want to use when really you just want to get on with editing and selling your footage. But fortunately, I don't have to deal with that anymore because I found a super easy way to handle it releases. But first, I want to go over what actually requires a release, model release. When there's any identifiable person in the video, they need to sign a model release. And identifiable doesn't just mean their face. If there's any kind of recognizable feature, clothing, tattoo, etc, that could identify them, they need to sign a release, minor release whenever an identifiable person in the video is under 18 years old, you need to get a minor release signed by their parent or legal guardian. Property release. Whenever you're filming on a private property, you need to get a property release signed by the owner or property manager. If you're swimming at a cafe or restaurant or small business, you should get a property release. Also if you're filming at a stadium, museum, theater, or amusement park, you also need to release. Personally, I avoid shooting at these bigger private locations because it's gonna be almost impossible to find the right person to sign off on the shoot. And you're usually not going to be able to get in touch with the owner of the stadium or museum or whatever it is. Even if you do, they probably won't even be willing to sign a release because it's not worth the potential liability for them. But a small business like a local restaurant or a cafe, you have a much better chance of getting in touch with the owner. And if you want and you can even offer to make a promo video for them with the footage you get, they get something out of it. When you're shooting at a private residential property, like a friend's house or your house, the stock sites usually won't ask for a release. But if you want to be on the safe side, you can have the owner sign one just in case. In general, stock platforms are much more lenient on property releases than mile releases. Rarely have I been asked to provide a property release, but they won't ever accept footage that has recognizable people in it unless you have a model release. That being said, I would still always get a property release if you're on a private property because legally, you don't have permission to sell footage of private property until you have that property release. But if there aren't any identifiable people and you're not on private property, then you don't need a release from my footage. I tried to fill them as much as possible at my own house or out in public. And the other time you don't need to worry about getting a release is with editorial footage. So that's a huge appeal of shooting some newsworthy editorial footage. Okay, So how do you go about getting releases from people? There's a super easy way to do it and it's all on your phone. The Easy Release App. If you're gonna be regularly shooting stock footage, I highly recommend getting an app called Easy Release. I'm not affiliated with them in any way. It's just a super easy way. I've found it to handle releases. The app lets you enter in all the info about your shoot. Take a picture of your talent or their ID and then have them digitally sign the model release inside the app. Then you just export it and email it to yourself and email it to your model. And it's ready to upload whenever you upload your footage. So it is a paid app. It's 999, it's a onetime payment, but in my opinion, it's definitely worth it. One great thing about it is every major stock footage platform accepts easier release releases. So you don't have to try to get a different release form for every site, like you used to. Just a onetime thing in the app, one signature, and you're done, it's super easy. So there are similar apps, but as far as I've seen, the easiest release is the only one that's accepted by every major stock footage platform. So I definitely think it's worth it if you're gonna be regularly shooting commercial footage. So real quick, I want to show you how the app works. So when you open the Easy Release App, it looks like this. Blank. So the first thing you wanna do is go to settings down here. And this is where you just enter in your own information, so your name, and then your e-mail, and then your signature. So that's my beautiful signature. And then you don't have to worry about any of the rest of this stuff. You just leave it as is. Alright, so when you're on a shoot and you are filling out a release with a model or property owner. You just hit this Plus icon, asked you what type of release you want to create. So first let's say we're creating a model release. This will pop up and you just want to go with the standard model release. So you say next shoot name. So let's say the shoot is at Cafe Downtown. Will say downtown cafe. Shoot reference ID. I usually don't put anything I leave that blank. Shoot country or in the US region or state. You put in your state or region, the shoot date, whatever today's date. So this is today's date that I'm filming this, so sure. Now the model info, so the model's name is Denzel Washington. Maybe you have an n with Denzel and this is his address. So Denzel. Street. And then you fill all that out wherever the models addresses and the models contact info, I'm going assume this is Denzel at Gmail and then his phone number Next. Then this is your models date of birth. So it's asking for date of birth just so it knows if your model is a minor or an adult. If you know their date of birth, you can enter that here. But if you don't know it, you can just say they're an adult and it'll take you over to gender. You don't have to put that if you want, but you can. Ethnicity. You don't have to put that if you want, but you can. Okay. And then this camera comes up is my desk right now and turn it around. So now the camera comes up and instead of taking a picture of your model, I recommend taking a picture of their ID if you can. Most stock footage platforms just need you to take a picture of the model themselves. But there is one stock footage platform art grid, one of the higher-end platforms that requires you to upload a picture of the models ID every time you upload a release. So if you're submitting to our grid or you plan to submit to art grid, go ahead and get a picture of the models ID. So you don't have to get an actual picture of the model as long as you have a picture of their ID. So let's say we take the picture. Beautiful. It looks just like Denzel. Yes, we want to use that photo. And now we'll move on to witnesses name. So anytime you're signing or release property or model, you need to have a witness present so anyone can be a witness, anyone standing by, you can just have them put their name. Maybe Frank was there. And then it's going to show you the model agreement. So this is all the information for the model, saying they don't have the rights to the content and the rights belong to you, the filmmaker. And this is just saying the model agrees and acknowledges to that. So you can read all that if you want to. And so they just need to tap here to agree. And then after they tap, this is where they would sign. Then it comes up with your witness agreement. So this all persons signing and witnessing must be of legal age and capacity in the area in which there's releases signed. And a person cannot witness their own release. So you do need a third person to sign this. So they would tap here to agree and this is where the witness signs. And that's it. Now that you have all the signatures, you go back up to the top and you say you're ready to send, then it'll show you this PDF version of this release. And so this is the agreement text, the model agreed to. It's got your photo and your signature is here and your info. So then all you do is you hit this up at the top. It says, What would you like to do with the release? Either email it or print it? I usually just e-mail it and I email it usually to both me and the model. Once you click that, it'll open your email app. And it has the emails preprogrammed in there. So you can edit those if you need to. But now it's just a normal email. And you can send that to yourself and it'll send you a copy. And the model of copy. The one I usually do is go on my computer and download it from there and then put it in the same folder as the stock footage from that shoot. So that's a model release. And real quick, I want to run through a property release, which is essentially the same thing, but just as a few different things. So shoot name, say we're in the cafe again, reference ID, you don't need shoot country. You put in your country and your state. The shoot date, say it's today. Now, it asks for the property name. So the property is Cafe. Whatever the name of the cafe is. Then the address of the property. Then automatically opens the camera app wants you to take a picture of the property. You really don't have to. It's not required to take a picture of the property for the stock footage platforms, but it's a good thing to have just in case. Then you say Next. Now it's asking for the type of owner that'll be signing the release. If it's an individual or a corporation, or an authorised representative of the corporation. So it's usually going to be an individual. So let's say we click that. And then you put in the owner's name. It's Patty pennies cafe. Then you put in patties e-mail and her phone number, and then the witnesses name again, or you can select from the list if Frank is still there and he wants to witness you say, great, Frank will do it. Then you get the owner to sign the property release, which is slightly different wording than the model release, but it basically says the same kind of stuff. They're agreeing that you can use the footage. So then they sign here petty signs and then Frank signs again. And that's it. Then you go back up to the top, say ready to send, gives you that PDF. And you can email that to yourself and the property owner. And that's it. Okay. And then the last one I want to show you real quick is if you're getting a minor model release. So you go again to standard yes. Shoot names, same thing. She'd country to date. Model's name. So this is Little Sammy. Alright, and this is Sammy's address. Contact info or Sammy's parents contact info. This is their date of birth. So you can go ahead and say Sammy is a minor. So this is their parent's name. Their parents name is Sammy senior. So this is about Sammy. Again. Sammy is a male, you can say is ethnicity and a picture of his ideas. And you just take a picture of Sammy. If he doesn't have an ID, then you say next witnesses name again. So franc Still there, he'll do it. Then you need the miners parent to agree to the model agreement. So they tap yes, I agree. And then they sign here. And then the witness taps again and signs. And that's it. Then that one is ready to send. That's it. It's pretty straightforward and it guides you exactly how to use the app. And that's it. It's super easy for you and the talent or property owner. They just sign it right then and there at the shoot and it's done. So that's it for releases. There's a link in the description to check out the Easy Release App has made handling releases a thousand times easier for me, so I definitely recommend it. That brings us to the end of module one. Now you should be ready to go out and start shooting your own footage. So before you jump into module two, I want you to actually put this into practice. I want you to brainstorm ideas that you can go out and shoot. It doesn't have to be anything fancy. It can be shots of a friend or family member watching TV in your living room. Or you can make a day of it. You can get friends together and go out somewhere. You can do impromptu style or stock shoots style. You can come up with a story and make a shot list. Or you can just grab your camera and see what catches your eye, but have fun with it. And in the next module, I'll show you how to edit that footage as always right in the group if you have any questions, and I'll see you in module two. 8. Editing Gear SEQ 1: Alright, this lesson is about editing gear. So stock footage is just about the easiest thing to edit because there's no real editing you have to do. You're not putting any sequences together. You're mostly just trimming, color, correcting and exporting. So I'm gonna go over what equipment and software that I use and what I recommend, what I use. So as I've said, I'm not a gear guy. And for stock footage, I really don't think you need to be. There are a lot of fancy editing computers out there. But what I edit on 90% of the time is this 13 inch 2016 touch bar MacBook. These are the tech specs if you're interested. So I've had this computer for a few years and I didn't initially get it to edit on. I used to edit on the 27 inch iMac. But over the years the iMac has just gotten really slow. And not only is this MacBook fast, but I'm able to carry it around with me. So it's slowly turned into my main editing computer. I love being able to edit from anywhere, not just an office all day. So the fact that it's portable is a huge plus for me when I'm using the right settings and Premier, I can easily edit for k videos on this. No problem. Especially stock footage sequences that don't require multiple layers of effects or lots of color grading. So if you're mainly using your computer to edit stock footage, I really don't recommend going and getting a big awesome editing computer unless you just really want one or you know, you're going to use it for more elaborate projects other than stock footage. But for stock footage, a basic laptop is really all union. But one thing I definitely recommend getting is some good external drives. So I stored the majority of files that I'm editing on these solid-state drives. So when I'm editing, I don't transfer any files onto my computer. I just keep them all on my external drive and I edit directly from here. In the past, I've stored my files on these external hard drives, but I've had more than one of these die on me from either dropping it or just it dies for no reason. All of a sudden, the last one that died on me, I had to pay like $2 thousand just to recover the files. So you don't want to deal with that. And I'm sure it wasn't worth $2 thousand worth of work, but I had no other option at the time. And they did recover the file, so it worked out, but you don't want to deal with that. And that's why I highly recommend a solid-state drive over a hard disk drive. Solid-state drives are more expensive, but they won't crash and die on you even if you drop them. This particular solid-state drive is the SanDisk. One terabyte, extreme portable. And it's super rugged and durable, is water and dust resistant. And they say it can withstand up to a three foot drop, which is basically the height of a desk. You can drop it off your desk and it will still be fine. Also, it's nice and small so I can just stick it in a backpack or camera bag and I can take it with me when I travel. The reviews for it or all five stars on Amazon and B&H. And it's just an awesome little external drive. So I definitely recommend getting one of those. Alright, now software. So there are several good editing programs out there. What I use is Premiere Pro. I've been using Premiere for about ten years and I really liked the layout of the functionality and the way it integrates with other Adobe applications like Photoshop and After Effects. If you do use another program like Final Cut or da Vinci resolve, and that's what you like. That works great too. It really just comes down to your personal preference. With stock footage. You're not gonna be doing any crazy editing. So you really only need the bare minimum of functions in your software. You need to be able to trim and edit for k files, you need to be able to convert your footage to 24 frames, slow motion from 60 frames. And you need to be able to color, correct? I think every editing program out there can do those things. So again, it just comes down to whichever one you're most comfortable with. And as far as editing gear, that's really all you need. You don't have to worry about speakers or any audio equipment because you won't be exporting your videos with sound. So that's about it. It's pretty easy. I have links to all the equipment I talked about if you want to check those out. And the next lesson, I'll be taking you through my stock footage editing workflow. 9. Editing Workflow SEQ 2: Okay, so in this lesson, I'm going to show you my exact process for how I edit all my stock footage. I'm gonna be using Premiere. If you use something else, that's okay. You can still follow along. The specifics will be different, but the workflow and the ideas are gonna be the same. So first, importing as proxies. If you're not familiar with creating proxies, this is something you do when you're working with large video files, like for k files. Unless you have a super powerful computer, if you just try to edit the files when you play it back on your timeline, it's gonna be choppy and it'll skip and have lots of dropped frames, really slow or slower response time. But when you create proxy files, you're basically creating smaller files that you can work with in your timeline without slowing down your computer. Okay, first thing you wanna do is open a new project and name it new stock, shoot. The first thing you wanna do when you create a new project is import your footage as proxies. And so in order to do that, the first thing you hit here is ingest settings. This'll tell Premiere how you want to import the footage and we want to create proxies. So you say ingest, create proxies. And the preset, the type of proxies that you want to use is sinner form low resolution proxy. So they have lots of other options. But this one I found is gonna be the best-performing uniform low resolution. And it gives you the specs about what that, what that will turn out as and then you go ahead and hit, Okay. Okay, so now I'm going to go to my Project folder and I'm going to put in some of my clips that I've taken. So we'll just pretend that I just took these clips. So I like to just drag them in. And that is how they important. You can also go to File Import. As soon as you put those files in, Adobe Media, Encoder is going to pop up and it's going to want to start making proxy files. So you can see it starts making those. Now if you're just editing your footage and normal speed 24 frames a second, then let Media Encoder go ahead and do its thing. If you plan on converting the footage to slow mode down from 60 frames, you're going to want to stop it as soon as it starts trying to export. So go ahead and stop that. Chosen to stop the queue, Would you like to finish before the queue stops? No, I would not. So we want to go ahead and right-click on the one that has started doing. And I'm going to say Reset Status just so we're back. So we're back to the beginning here. And I'm gonna go ahead and delete the proxy file. So I go into my project file here and I'm going to delete the proxy that it started making. So I'm gonna say move that to the trash. So now we have a clean slate again. And these are reset and ready to create proxies for. So in order to tell it that you're wanting to convert it, you're going to select all your footage here and right-click and select Interpret Footage. And then frame rate. Use the frame rate from file which is 60 frames. And I want to assume this frame rate 24 frames a second. We're just gonna go with 24 frames a second. And that's it. You say, okay, now we're ready to go. Now you can go ahead and hit play and that will start creating those proxies. You see, it's pretty fast. Alright, now we're done with that. We got checkmarks and so we can go back to Premiere. And now these should be connected to our proxy files. You can check your project folder to make sure proxies, we've got to proxy files there. So now you want to select all that footage that you just created proxies for and right-click it. This is if you're creating slow motion footage. If you're not slowing down your footage, you can move on to the next step. But if you are creating slow motion footage, then you want to right-click these. Go up here to modify interpret footage. And then same thing we just did. Assume this frame rate 24 frames and leave everything else as it is say, okay? And now we have two slow-motion clips. So the first thing I like to do is just click on this clip, pull it up, drag that so we can actually see it. So we have this lovely close-up shot of the deer here. And so for now, I'm just gonna go ahead and select both of these clips in their entirety. And I'm going to drag them onto the timeline to create a sequence. One thing I do want to note is only used a fork, a timeline if your footage is actually for k. So you can't take your ten ADP footage and scale it up onto a fork, a timeline and export it as four K to stock footage platforms are specific about saying that people reviewing your footage will be able to tell that your footage wasn't actually for k and it'll be rejected. So if you shot 1080, make sure you export it as ten AD so it won't get rejected. So I'm gonna go ahead and change the sequence name to sequence one, just so we can keep that organized. The first thing I do is get rid of the audio. So I'm gonna go ahead and deselect audio. So we're not dealing with any audio in the future for any other clips we pull in. I'm going to select these and say Command L, which unlinked them. So now I'm just going to delete the audio because we're not worrying about audio at all. So now that we have the clips in the timeline, one thing you want to make sure is that you're actually using your proxy clips. And so there should be a button over here, right here, Toggle Proxies that you want to make sure that is clipped. If you don't see that button, you can always hit the plus sign to add any buttons that aren't visible and you can drag them down if you need them. But we have it right here. Toggle Proxies. The proxy is on there, so everything should be running smoothly. So now we want to get into actually trimming the footage. What to look for when trimming your footage. First of all, you want to look for a complete action. So right now this clip starts off super shaky. I think I was in a moving car as we were filming this. So it's super shaky, super blurry. So obviously we want to play it until it's not blurry. So right about there, it comes into focus. So I'm gonna go ahead and make a cut there and delete that. Now I'm going to play the clip. Still a little bit shaky, but it's not too bad and it looks like it's in-focus, so the deer is eating. And then we stop here, the deer turns. So right now I'm just looking for what the complete action is. Then it turns away, walks away and I do a zoom out. So obviously we want to get rid of that Zoom Out, which happens right about here. So first thing we want to do is trim out any air, so any blurry or shaky footage at the beginning or end of the clip? That's what I do first. Then you wanted to make sure your clip is about ten seconds long. I recommend having all the eclipse be around ten seconds long. That's what seems to work the best for me. This is 14 seconds, so we're good. So say what this clip I cut out the beginning and N where it was out-of-focus. And now say my clip was still a minute long. Well then you could go in and you could trim it down into, say, four or five shorter clips within that one-minute clips. So I would say, well, one shot would be the deer eating because that is an action. So as soon as the deer stops eating, I could cut it there and call that a clip. And then mid-year turning its head, I could call that another clip. Alright. You're turning away. I could call that clip. If it was longer, right now it's only about three seconds, so I wouldn't call that its own clip for this shot. But if it was a minute-long clip, you'd be able to chop it up into smaller pieces. You don't want to upload a video that's a minute long, you want to keep it around ten seconds. Alright, so now color correcting. So depending on if you shoot flat or log or rec seven O nine, or whatever your color profile is on your camera, it'll change your color correcting workflow a little bit. But for me, these were just straight out of camera, not flat, not logged in. So this is how I would color them. Alright, and so for my coloring process, I use lumetri, so I'm going to search for that and the effects. You mean metric color. And there it is, I'm just going to take it, drag it on there. So with color correction, you want to keep it simple. You don't want anything too extreme. Most sites want a color corrected image, but not a color graded image. So you should fix things like white balance and proper exposure. Like these shadows are a little bit dark, but overall, you shouldn't apply a heavy stylized color grade after that. So first thing is Basic Correction right here. Click that dropdown. So right off the bat, white balance. This looks a little bit cool to me. So I'm going to take the temperature and I'm going to bump it up. I'm going to call it five. See what that looks like. It didn't do much. I'll try it a little bit higher. That's looking a little bit better. So one of my main techniques when I'm coloring is to go too far. You go too little and then too far, and then you can dial it in in the middle somewhere. So right now too far, I can be around 55. And that is obviously too far, so I'll take it back to 30. That actually looks pretty good. And then I'm gonna compare it with what I had before at 11. And that is a little cool. So I'm gonna go in the middle. I'm going to say 22. And we'll leave it at that because we have the nice yellow light in the background. So this is actually a golden hour shot. You can see the golden light that's coming in the back. So a little bit of warmth is good. Next thing is the contrast. So for this particular shot, It's pretty contrast D, We've got dark blacks. So I'm going to leave that alone for now. And the first thing that I see with this shot after the color is the shadows are very dark, so I'm gonna go ahead and bump those up. I'm going to say 20. Pretty good. I'm gonna go even higher, 30. And that is looking pretty good to me. I'm actually going to change this to 25 and add a little bit of that, little bit of those darks. When you're working on exposure, you can pull up your Lumetri Scopes. This tells me exactly what my colors are doing. So this is a way to keep track of your highlights and your blacks. So right now, I got my blacks right about here at three or four, which is right where I want them. And then my highlights are peaking around 75 ish, which for this type of shot which is in the shadow, I'm alright with for now. Then I'm going to come down here to luma versus SAT. So this is your shadows over here and this is your highlights over here. So I'm gonna put a keyframe right about here at my shadows. And I'm going to put another one right here and drag it down. And Illumina versus what this is doing is taking the darkest parts of the image and making sure there's no color in them. So when you get color in your shadows, dancing kinda start trying to start looking funky. If you have weird colors in them. So you wanna make sure your blacks are true black without any color. Next, I come over here to the color wheel. This is a little bit of just experimenting with it, but what I like to do is bring up the mid tones usually a little bit, and bring down the shadows and the highlights. This is before little bit dark and after brightens it up a little bit. And check the scopes, still looking pretty good. And then that shot, It's looking pretty good to me. So we can see before the coloring like that and after this. So a little bit brighter, a little bit clearer, little bit warmer. And I think that looks a lot better. Alright, now I brought in a new clip that has a person in it so you can see how I edit something with a person in it. So first things first, we're going to modify and interpret footage so we can turn this into slow motion. This clip was filmed at 60 frames, you can see right here. So we're going to change this to 24 frames, say, okay. Alright, so now it should be slow motion. So I'm just going to take the whole clip and I'm going to bring it down here into the timeline so you can see what I'm doing. So first things first it does have audio, so I'm going to unlink the audio with Command L, and I'm going to delete that. All right, so now we have the clips. First thing I want to do is just look through it and trim anything that we're not going to use. Alright, she's on the mountain, she steps forward. She's looking around. I'm going to scrub through here. She looks round, steps forward. Alright. So for starters, the beginning, nothing's really happening. So I'm going to start right here, trim the beginning here, so the clip starts when she's stepping forward. All right. So this isn't too shaky. I'm actually going to cut it here after she leaves the frame. Because someone who wants this clip might want that complete action of her walking out of the frame and then it's a blank frame. So I'm going to trim it to right here. So she leaves and then we cut it. So this is longer than my usual clips. This clip is going to be about 25 seconds longer than usual, but really anything in that tend to 30-second range is gonna be fine. Alright, so after you trim the beginning and end, what I like to do is smooth out the footage so this isn't too shaky. It's handheld, but it looks pretty good. But just to make sure I'm going to go over here and add the Warp Stabilizer. Warp Stabilizer helps smooth out the footage. I'm going to drag that over here. That starts analyzing and it starts with the smoothness of 50%. That's usually a little bit much for what I like to do. So I'm gonna change this to 20% and see what that looks like. So you can see that stabilizing it's analyzing it right now. Usually that shouldn't take too long. Alright, so now you want to play through the clip to see if it stabilized. Well, play that. That looks good. I'm checking for no over stabilization and the edges or anything. Sometimes it gets a little warped looking if it's too much. Yep, See right there at the end. Too much. Alright, so actually what I'm gonna do is because it wobbles here, basically now I'm at a decision point where either I can cut the clip right here before she walks out and before this wobbling happens. Or I can remove the warp stabilizer. And for this part, I actually prefer when she walks at a frame and it wasn't that shaky to begin with. So I'm going to remove the warp stabilizer, but just so you guys could see it and see that's usually part of the process is adding this Warp Stabilizer to my handheld footage just to give it a little bit smoother look so you can see how I do that. But in this instance I don't actually need the warp stabilizer, so I'm going to get rid of that. So next thing I'm gonna do with this clip is go to Lumetri color and color to it. Alright, so this clip looks pretty decent, but it's definitely flat. It was shot at a flatter profile and my GH five. So the first thing I'm gonna do is go in here and I'm going to increase the contrast. Is 25 as just sort of a base to see what that looks like. That looks pretty good. So highlights could be too bright, so I'm going to try to bring those down, see what that looks like before after that looks okay and maybe a little bit much. We'll just leave it there for now. Shadows. Let's see, I can try to bring those up. Maybe a touch. Looks pretty good in there. Maybe lower the white because it's kinda pretty bright right here. So I'll try to lower these whites without looks like. And we're just putting kind of arbitrary numbers in here just to see what it looks like. It looks alright. Blacks who might try to lower these blacks just to touch. Looks pretty good. So right now, you can see the before and after haven't done much so far. Kind of even out, lowered some of these highlights and darken some of these shadows. That's basically what I've done at this point. Alright, then I like to mess with the color wheels here. Basically the same kind of stuff that I did up top, which just further focuses what I'm doing here. So mid tones could be a little bit brighter. You can see her skin would be a mid tone. It's a balancing act, basically lowering the highlights a little bit. I'm going to lower the shadows just a little bit, see what that looks like. So it's a balancing act and it's pretty fine details that you're tweaking. One thing I'm going to go ahead and do is increase the saturation just a little bit. See what this looks like. Quite so much just to touch this, oranges pop in, but I want to make sure her skin tones are in the right place where they should be. Make this a touch warmer, something I like to do. And then what I like to do is actually go to the shadows and make them a touch cooler. Bring them closer to the teal. You can see before after. Maybe even go and touch cooler than that. Yeah, it looks pretty good for the winter in mountain look, having some cold shadows is good. And then maybe balance that out by bringing this even a little bit warmer in the mid tones. That looks pretty good right about there. So I'm gonna go up here and you can see the before and after. And I'm pretty happy with that. I think that'll be good for now. You don't have to go crazy with lots or anything. If you want, you can throw on top, but it should be pretty subtle because you want realism and you want cinematic realism. You don't want anything too crazy. So if I wanted to go here, I have some lets already here. Say I wanted to go with a crazy lot. Obviously, as too much, you can dial it back if you want. That still looks pretty good. It's just a random ahead. So this looks pretty realistic still. But even so, I would probably not go with a lot just because you want more of a wreck 709 look a natural look that whoever is editing the footage, they can go in and add their own let whatever they want for their project. So I usually try to keep it as natural looking as possible, just making a few tweaks probably to the highlights, shadows, contrast mid tones. Some of those basic things. Don't get too crazy with it. Alright, and then that clip is done. So the next thing you do is export your footage. So the way I export is I first set my in and out points for the clip that I'm exporting. So right now, export the deer, I'll make it smaller so it's faster. And I'll go to the end and export. And so I set my in and out points. And then you go up here. File Export, Media or Command M. So now the best export settings for stock footage that I've found is QuickTime. Apple ProRes four to two HQ. So that's the one I usually use. First you want to put it into your output name and location. So right now, this is where I got the footage. So I'm just going to say year one. You can call it whatever you want. This is gonna be the filename. And then you go down here and say Q. That's going to send the file over to Media Encoder. So you can see it comes up here on Media Encoder, ready to go whenever you hit play. But I'm not ready yet, so I'm gonna go back in and go to my next file. Hit my in and out point. I'm just hitting the letters I and O for in and out. And to export you can also say command M, So I say command M. And then the title, this file, you titled this clip. And since I just said it to progress, it should still be set there. So I say Q and it loads in there. And so basically you do that the IO and the Q for all your files that you have in here. So they're all loaded up in Media Encoder. And then once you have them all, you can just hit play. And that should start encoding. This clip is going pretty fast. Exporting could take awhile depending on how many clips you have and how fast your computer is. So in the meantime, you can take a break, go, do something else, or run it overnight and it'll be ready to go the next day. And that's it. That is my editing process. And now all your files should be nicely exploited in a folder and ready for you to upload. So for you now it's time for you to take the footage you shot after Module one and start editing it. You can follow along with this video if you need to, and you can ask any questions in the group. If you happen to shoot hours and hours of footage for module one, you don't have to edit it. All right now, like everything, I would start with a manageable amount like no more than 20 clips. You could even start with five clips if you want to start small. And once your clips are edited and export it, you can move on to the next module. The stuff that really makes you sales, keywords. 10. Keywords SEQ 2: Keywords. This is the fun stuff because keywords are one of the most important things in being successful. Making consistent income with your video's keywords can be sometimes even more important than your actual videos. Content consistency keywords, that's the backbone of selling stock footage. You can have the best shots in the world. But if you have terrible keywords, your videos won't ever be found. So I'm gonna show you exactly how I add titles and keywords to my videos so they get found and make more sales. And to make things a little easier for you, I've made a metadata template spreadsheet for you to add titles and keywords for every stock footage shoot you do. When you're coming up with keywords. You're also adding them to the CSB spreadsheet and you'll upload that when you upload your stock footage. So next I'm gonna go through the spreadsheet to show you how I add an organized keywords. So if you haven't downloaded the metadata template yet, you can download that now. You have it and you can follow along and see what I'm doing. Okay, So when you open your metadata template, it should look something like this. I have a pre-filled out with some example texts just to give you an idea of what it will look like. But the first thing you wanna do when you create a new metadata sheet for a new set of videos you're ready to upload is to duplicate the file and then rename it. And you are ready to go. So there are three separate sheets for three of the stock footage platforms I upload to Shutterstock, Adobe Stock and pond five. The reason I have separate sheets for each site is they each require different labels for their metadata files in order for things to line up and connect to your videos correctly when you upload them. But I'll show you exactly how to do that when we get to the uploading section. But for now, I'm going to start in the Shutterstock sheet. So first I'm going to delete this info. So we're starting from scratch a blank sheet. And you're also going to want to pull up your exported clips from the project you're working on. So this is the project I'm working on. So the first thing is to add the clips filename. You want to add it exactly as it appears, including the extension. So for this clip is called fetched by the lake dot MOV. So I'm just going to copy that and paste it under file name. The next thing is the description or title. Sometimes it's called description, sometimes it's called title, but they're basically the same thing. When you're coming up with a title for your clip. You want it to be engaging, unique, and descriptive. The title isn't gonna be as important as the keywords, but it's still factors into the search results. And it's the main texts that people are going to see when they click on your video. So for your title, you want something that's not too short and not too long. So for this clip too short would just be a woman in dog. That's not enough details, not enough info. And too long would be the beautiful woman in the pink shirt happily throws a stick into a pond and her pet chocolate Labrador Retriever jumps into the water after it on a hot summer day in mid-July. Alright, that's obviously way too many details. No one's going to read all that. So you want something that falls between those two extremes. Not too short and not too much, but you especially don't want to include information that isn't at all relevant or obvious to the clip. So I would say something like a woman plays fetch with chocolate lab, the lake. That's what I would recommend. It's descriptive. It tells you exactly what's happening in the video. So another tip for writing your description or title is don't spam words. Putting a certain word a 100 times and your title is not going to make it come up more in search results. In fact, it might hurt it. So you don't want to say shot with dog and dog owner with dog playing dog games. You want to keep it concise and descriptive. And once you have the word in there, once the site will find it and it'll come up in the search results. Another tip is don't use the same title for multiple clips. So if you have ten shots of the woman playing with their dog at the lake, don't call them all woman playing with dog at the lake. Try to be specific about exactly what's happening in each clip. And if multiple shots are so similar that you can't figure out any way to differentiate them, then you might just want to upload only one of them because there's not really an advantage to uploading multiple clips that are almost identical. And if you're uploading editorial footage when you're titling that, you want to mention the date, location, and event information in the title. So something like August 2020, Atlanta protest or woman walking in flooded Florida street after Hurricane Katrina, right? That's telling you when and where the event occurred. So that's only for editorial footage that you have to put that information in there. But you really don't have to stress too much about titles. Just put something accurate and descriptive. So once you're done with the title, you can move on to the keywords. So the first thing I do with keywords is I just put the obvious words. So the obvious here would be the who, what, when and where of the clip. Usually these are gonna be the main words that are also already in your title. So for this shot, the obvious ones would be woman, fetch, chocolate lab, dog. Lake, right? Those are the ones that are already in the title. They're pretty obvious. It's more obvious ones might be throw, throwing, fetch, right? So those are the actions that are happening in the video. Next, after I do the obvious, you might want to go back and reference the clip and look for some inspiration. So you can re-watch the clip and see if any other random words jump out at you. I see she's standing there at the lake. There outside. He throws the stick the job the dog jumps in. Right now something that jumps out at me is the word splash. There's a big splash and swim, the dog is swimming. So I'm gonna go ahead and add both of those. So it helps to have the clip open while you're doing keywords so you can constantly reference it and get inspiration from it. So once you've done that, I tried to think about conceptual keywords. So these would be emotions and ideas that are present in the clip. So just watching this back, I would say something like fun, friendship, companionship, maybe Happiness, Happy, play, they're playing. So these are some more conceptual keywords they could apply to this clip. Actually, I'm gonna get rid of companionship because it's not as common as some of the other words. So I don't think it's quite as applicable. So I'm gonna go ahead and get rid of that. The next thing I do is look for common synonyms for keywords I've put in. So on my MacBook, I can just right-click on the word. So I'm going to hard click on Fetch and see what kinda synonyms this will bring you up. And I'm not really liking any of these. Not quite right. So I'm going to right-click on Lake. See, we've got pond I like pond. Water is good. Both of these are good. Let's see, throw, toss, fleeing. So you won't always have great options. So sometimes your first option is gonna be the best option, but it's worth looking. I'm pretty happy with that. Words we have here don't have a lot of synonyms. So once you've done that, the next thing you wanna do is think about the cinematography of the clip. So are there any relevant camera angles or camera moves that are unique to this clip? It could be an aerial shot looking down. It could be a pushing shot or a long dolly shot. And that can be relevant. It could be a super wide angle. So you can say wide angle in the shot. For this example. Let's see we have a kind of a slow pan, right? But for this one that's not really relevant enough to the shot for me to include it. So I'm not going to put that in this shot. And other relevant word that I just thought it would be stick. She's throwing a stick. That's specific and relevant. People might be searching for a dog with a stick. This is pretty common for words to just randomly hit you. The more times you watch it something we'll probably stand out to you each time and you'll be able to add a few more words. So a few other tips to keep in mind when you're keyboarding are the first ten words matter the most. So once you have all your keywords listed out, decide what the top ten most relevant words are for the clip, and put those first so we can rearrange it if you need to. But some of the stock footage sites prioritize the first ten words. So you wanna make sure that those are the most fitting and the most relevant. You also want to use singular nouns and verbs. So you can just say dog and jump instead of dogs or jumps. Even if you have a 100 dogs in your video, you don't have to include both keywords, dogs and the word dog. You can just say the singular dog, and it'll show up in search results. You want to do the same thing with verbs. You can say jump instead of jumps. But with verbs, I usually also include the I-N-G version. So for this instance you see I put throw and throwing, but you don't have to put throws. Another thing you don't want to do is put inaccurate words. So only include words that are actually applicable to the clip. You don't want to say cat for this clip. Another tip is when your shot and doesn't include people in it, you want to put the keyword know people and nobody. When people are searching for videos that don't have people in them, they can usually check a filter in their search that says no people. So this is just an easy way to get found that way if your clip doesn't have people in it. Another tip is you can't say trademarked words. So if you have a shot of someone using an iPad, you can't use the keyword iPad. You have to use the word tablet. So you can't use trademark words or your keywords will get rejected when your keyword and you want to be specific. So if it's a dog or animal, you don't want to just say dog. You want to say chocolate lab or Labrador retriever, the more specific you can be, the better. And this is the same with anything. It could be a woman holding a bouquet of flowers. You don't want to just say flowers. You want to say chrysanthemums or whatever flower they are. So be specific. I didn't mention at the beginning, but as you can see over here, I have a keyword counter column. So this is something that I made that just counts. However many keywords are in the keyword column for that row. This is just a way to help you keep track of how many keywords you're actually writing for each clip. So how many keywords should you have for each video? I recommend having around 30 words. Most sites allow up to 50 keywords, but trying to use all 50 words can actually hurt you. With keywords. Accuracy is better than quantity. It's almost gonna be impossible to come up with 50 specific, relevant keywords without reaching a little for something that doesn't quite apply to your clip. So if you're trying to come up with all 50 keywords, you might re-watch the clip of the dog and say, tree, right there are trees in the background of the shot. But when you do that and add tree, now whenever someone searches for tree on the stock footage sites, this clip is going to come up, way down on the search results, but no one has ever going to click on it because it's not a video of a tree, it's a video of a dog. And even if someone searches for dog and tree, they won't click on this video because this shot really has nothing to do with trees. They just happened to be in the shot. And so every time this clip comes up in search results for tree and no one clicks on it. The stock footage sites algorithms are going to recognize that no one wants this clip for that keyword. And so it's going to drop a lower and lower in all the search results. So I recommend trying to put around 30 keywords. If you can only think of 20 words before you start reaching for things that maybe aren't as relevant, That's fine. 20 relevant keywords are better than 50 irrelevant keywords. So that's why I included the counter. Try to keep your words around 30 if you can. But more importantly, just make sure you have relevant keywords. And actually I should point out what this keyword is counting is actually the commas in the cell. So make sure to put a comma after the last word in your keyword cell. Here actually put a comma after tree, and that'll tell me I now have 24 keywords. One last thing I want to point out with keywords is when your key wording for editorial footage. So if your keyword and editorial footage, you want to put the keyword citizen P5, brief, one word. So this is specifically for uploading editorial footage to pond five. That's the P5 there. And adding this is just the way that they're able to organize the footage in their system, recognize that it's editorial. So when people search for editorial footage, this will be sure to come up. But that is just for editorial footage. So if you're shooting commercial, you don't have to worry about that. So finally, if you get stuck and you can't think of any more keywords, re-watch the video clip again and try to put yourself in the shoes of someone searching for this clip. Think of what someone's searching could be looking forward to find this clip and think of what stands out to you. And another tip, if you get stuck, is to use Shutterstock keyword search tool after you upload your footage to Shutterstock, this is their submission page. So before you submit it, you can add all your keywords here. And so they have this little function here that is the keyword search tool. So how this works is you click on this and then you enter keywords to find similar looking images to the footage that you've shot. So I'm going to look for Lake dog woman, Lake Doug woman, right? And that'll show me images similar to the one I've shot. And then you go and select the images that are most similar to yours. And you can see what keywords they're using for their shot. So now you can see their options. I can copy some of these and put them as my keywords. Okay, So as I'm re-watching this one last time, a couple of other words I can think of our outdoor outside. Those are all good words to use. Rural isn't a rural area. Summer, it's a nice sunny summer day. I think these these would all be helpful if someone is looking for this shot. So once you're done with keywords, you can move on to the categories. So I listed all the categories out in the far right column. So you can just reference that for Shutterstock, you can include up to two categories. So for this shot, I'm going to say animals and wildlife that has an animal in it. And I'm also going to say, let's, I'm just gonna say people, because it's more about the woman and the dog than the nature. Then you can move on to editorial. All you need to put here is yes or no, is this editorial. So for this clip is not editorial, it's commercial. So I'm just gonna put no. So that's it for the Shutterstock sheet. And so then I'm just going to copy and paste these first three filename, description and keywords. And I'm going to go over here to the Adobe Stock page. And I'll delete these and make sure it's a blank sheet and I'll paste what I have here. Make sure that all lines up and then I'm going to go ahead over to the pond five sheet. I'm going to paste what I have here for pond five, would they actually do is give you a title and a description. So technically what we've made is the title here. But for me, all I do is I take the title, copy it, paste it as the description. There's really no advantage in coming up with a separate, more detailed description. No one's going to read that and it doesn't factor into the search results really as much as keywords. So I just copy and paste that so the description is an empty, so it's the same as the title. And then I'm gonna go back to Adobe Stock. And so once we have finished filling that out, so category for Adobe Stock, the way they do it is they have similar categories, but they're numbered. And you're only allowed to put one category for Adobe Stock. So the one category that I think fits best here is just gonna be animals. So I'm gonna put a one for animals. You see if there's anything else that would be better. People. Lifestyle, lifestyle could be good, but animals for this as a little more specific, so I'm just gonna leave it at one for animals. Then you move on to releases. So for release, you're going to put the exact filename for the release for whatever clip you're referring to. So in this case, whoever this woman is, I'm going to put the release for her here. So let's say it's called Shelby dot JPEG. And that is the actual file. So not the model's name, but the actual releases filename. And that's it for Adobe Stock. I'm gonna go and do the same thing for the releases in Pont five, Shelby dot jpeg. So typically you're going to have more than one clip for this metadata template, I put 50 rows. So you can just go down and do that same thing for all the clips in that shoot, and then copy and paste them to each sheet. So I would start in Shutterstock and then copy all of them, paste them in Adobe Stock, and then paste them in pond five. That's it. Before you export, make sure that everything is spelled correctly, formatted correctly in the right rows. And then you can go ahead and delete these last two columns. You can also delete any rows that you're not using, any blank rows. You can go ahead and select those and delete them. Sometimes it will confuse the stock footage sites. If you upload a CSV that has a bunch of blank rows and columns. So I always delete those before I export. Then that's it. And then you're ready to export. So you just go up here to File export to CSV. Create a file for each table. Yes, that's what we want. A separate file for each sheet. You say Okay. Then you name it, whatever you want to name it. I usually put my CSVs in the folder where that footage is so you can stay organized. I'm just going to call it a CSV export, and that's it. Then you can see in this file, I have three separate CSV files that are ready for me to upload when I upload my footage. And that's it. If you have a ton of clips you're trying to keyword all at once. You can always break it up. So just do like ten video files at a time and then upload those clips. I once had a sheet like this with 200 travel clips from a vacation I was trying to upload. And it took me like three months to actually get around to uploading them because I didn't want to take the time to keyword all of them at once. So that's three months that I wasn't making anything off those videos when I could have been uploading them in smaller chunks and getting them into the world gradually to start making money. So don't stress yourself out trying to do everything at once. Just take it in small chunks, and that's it. Once you have your CSPs, you can start uploading your clips. 11. Platforms 1: So you've got your footage ready to go. Now, where do you sell IT? Platforms. There are a lot of sites out there for you to upload and sell your videos. And new ones are popping up every day. But there are four sites that I recommend that I regularly upload to. They're also all non-exclusive. So you're free to upload the same footage to all these sites as well as anywhere else you want. Foresights are Shutterstock, Adobe Stock, pond five, and art grid. So if you've watched my keywords less than already, you've heard of three of these, and now I'm gonna give you overviews of each of them. So for each of these sites, I'm going to give an overview of the site. I'm going to talk about any unique qualities that they have. And I'm going to talk about their revenue model that they used to pay for filmmakers. As always, let me know if you have any questions about any of them, and I'll see you in the next lesson. 12. Shutterstock 1: The first stock footage site I'm talking about today is Shutterstock. Shutterstock is one of the most popular stock footage sites out there. They offer stock footage, music, photos, motion graphics, print graphics, social media templates. So they sell a little bit everything. They've been around for like 20 years. So they're definitely one of the most established platforms for users, for the people who want to download footage, these are the pricing options. So users can choose a video subscription to download five clips, ten clips, or 20 clips a month, ranging from $99 a month to a $199 a month. And they have other pricing options if the user doesn't want a subscription, people can also just by individual clips if they want, but it is more expensive. Shutterstock is the one that says these prices. So the filmmaker isn't setting any of these prices. Unique qualities. One unique thing that Shutterstock dose for contributors is there Shutterstock custom program. So in Shutterstock customer, you submit an application with a link to your portfolio. And if you're accepted, you can get access to video briefs that big name brands send into Shutterstock looking for footage. So this isn't something that I'm currently doing. But if your goal is to work with big name brands, then this could definitely be a great way to get an in with a big name company and get paid for it. Revenue model. So Shutterstock is revenue model is a touchy subject for videographers right now. They recently restructured their whole earnings model and a lot of contributors really don't like it. This is Shutterstock is current revenue guide. So you can see basically you earn more when you sell more. So if you've gotten less than ten downloads this year, you'll make 15% of whatever the clip cells for. But also what you earned depends on what license and pricing option the person who bought your clip is using. So sometimes I make $0.34 on a clip and sometimes I make $90, but usually I make between 10, $20 on a single sale. Editorial content. So Shutterstock does except editorial content right now. But if your editorial footage is one of these subjects, you have to send Shutterstock, your press credentials, so they know you're not someone who just sneaked into one of these events illegally. Time for uploads to go live right now, the time that it takes for your uploads to be live on Shutterstock, ready to be downloaded is about one to two weeks, which is pretty average. So how do you sign up? So I'm going to put a link in the description for you to go ahead and sign up for your contributor account. So when you go to that link, you can see, you can go down here to see they have lots of great resources for contributors. But then you just go here to join now and enter your name and email. And they'll send you a confirmation email on your end. And that's about it. So that's the overview of Shutterstock. Feel free to go ahead and sign up for an account with them. If you don't have one already. 13. Adobe Stock 1: Adobe Stock. Adobe Stock is another super popular stock footage site. This is what the Adobe Stock front page looks like when you go to stock.adobe.com, they have the search bar right here, right up front, so it's easy to search for any footage you want. They have tons of stuff they sell also just like Shutterstock. So they have photos, illustrations, vectors, videos, audio you can see you just keeps going. So for users, these are the Adobe stock pricing options. In my opinion, the sides make the user pricing model is way more complicated than they need to be. But basically it's just a monthly subscription plan where the user gets a certain number of downloads every month. But they also give you the option to download single clips for a more expensive price. Unique qualities. One unique way that Adobe Stock is great for users is because of the way it integrates with all the other Adobe products. So it connects with Creative Cloud. And that makes it really easy if you have an Adobe workflow and you're wanting to download some Adobe stock footage or graphics or whatever. As far as the contributor side of things, I don't make quite as many sales with them as Shutterstock or art grid, but I still get a decent amount of downloads. So it's definitely one that you should be uploading to revenue. So Adobe's earnings model for their contributors is much more standard than Shutterstock. So depending on if someone buys your HD file or your fork a file, you can earn between $2270. I usually get between 20, $30 per download. Editorial content. So Adobe stock does not currently accept editorial content. I think they used to, but at the moment they're only accepting commercial footage. So the time it takes for your uploads to be live on Adobe Stock, ready to be downloaded is about one to two weeks, about the same as Shutterstock, which is pretty much normal for the industry. So again, I'll put the sign-up link in the description for you to go ahead and create your Adobe Stock contributor account. So when you click this link, this is the signup page. If you already have an existing Adobe account and you can just connect your account by clicking link my Adobe ID. If not, you can just say Join now and that'll take you to the sign-up page. So you can see on the sign-up page, if you go down, they have some basic questions and answers for new contributors. So it's pretty simple. And that's the overview of Adobe Stock. And if you don't have an account with them already, I would recommend signing up for an account with them. 14. Pond5 1: Alright, so the next platform I recommend is pond five. Upon five offers a little bit of everything like the other sites. They have footage, music, sound effects, motion graphics, and other stuff. One reason pawn five is a great platform for new contributors is because they have a little bit more lenient review process compared to some of the other sites. So videos that might get rejected on other platforms for cinematography reasons have a better chance of being accepted on pond five videos that might be rejected for exposure issues or noise or a little artifacts. Font five will often still accept those clips. The pricing model for users is pretty similar to the other sites. Users can pay for a subscription for a certain number of downloads, or they can pay for clips individually. Unique qualities. So one unique thing about pawn five is they actually let you set your own prices for your videos. But upon five does have guidelines of what cells best. So they recommend you charge $79 for HD videos and 17944 k videos. But pawn five has a page called data and trends that they're constantly updating with current data and trends for stock footage. So you can actually see right now, the median price for HD footage is $57 and the median price for, for k is actually $83. I would recommend using these numbers as guidelines of how to price your footage. I would aim for somewhere around the median trends. Revenue model upon 5s revenue model is pretty straightforward. Stock footage contributors get 40% of every sale you make. The specific amount will vary depending on what you price your footage. Yet. I should also mention that pawn five does give you the option of letting them set your prices for you if you don't want to worry about it. But what that means is when you submit a video, it will just automatically default to the minimum price, which right now is $50 for, for k footage and 25 for HD. So if you're just starting out, that's not a bad place to start. But if you're a little more experienced and have some nice high-quality footage, I would aim for at least the current median prices seen in the data and trends section. For me right now, I make around 20% to $40 for every download I get. The prices for my footage are kinda all over the place because I have some clips that I think are really unique and well shot and other clips that just aren't that great. So I priced those lower than the others, but in the range of 20 to $40 is usually what I end up making on any one sail upon five does except editorial footage. So if you're gonna be shooting editorial and you can upload it to either pond five or Shutterstock. Those are both good options. The time it takes for your uploads to be live on pawn five ready to make sales is less than a week. It's usually actually only a few days. So they definitely have the fastest turnaround time of all the platforms. So that is a big plus for pond five upon five has a really nice contributor portal. They have info about data and trends that shows you the top selling clips of the month and the trending searches for the month. So you can see exactly what people are looking for. They also have a section called buyer requests, where you can see what kind of content is being requested by clients. So that can help give you ideas of what kind of footage you can shoot. And you can go here to shortlist thought starters. This is a really cool thing. They provide its real-world suggestions of shoots you can do centered around that topic. So really good real-world suggestions for you to shoot. They also have keywords suggestions. So it's a pretty cool feature and you can check these out and check out the rest of the contributor portal. They have lots of good insights and inspiration on there. How to sign up. So to sign up for a pond five account, you can click on the link in the description and it'll take you to the pond five homepage. This link will actually give you a 20% discount on any footage you buy if you're looking to download footage or music or whatever for your own projects. But to sign up as a contributor, you just go here to sell your media and then start selling. And then you put in your email and create a username and password. Once you do that, they're going to want to verify your identity. So they'll ask for your name and address. And then you need to upload a photo of your id so that they can verify that you're a real person. And that'll take a day or two, and then you'll get an email saying you've been accepted and you can start uploading upon five doesn't require you to submit any examples of your video work or anything like that. Anyone can start submitting right away as soon as your verified. That's it for pawn five, you can go ahead and sign up for an account with them if you don't have one already. And the next slide I'll be going over is art grid. 15. Artgrid 1: Art grid. So our grid is a really cool stock footage platform because they focus on cinematic storytelling. Their site is directed toward filmmakers, and it focuses on high-quality cinematography. So it's definitely a high-end platform compared to the other sites. Our grid has only been around for a few years, but they're one of my favorites as far as the quality of videos they have on their site that I could see myself using in my own work. So for users looking for stock footage to use in their own edits, it costs $25 a month for unlimited HD downloads, $40 a month for unlimited for k downloads, and $50 a month for unlimited for k downloads plus the log or raw versions of those clips. Because their target market is like the high-end filmmaker. They offer this log and raw formats because they assume that is what professional editors are going to want to use to color, grade and edit their footage. If you're interested in using our grid yourself to download footage for your own projects. I do have a link in the description that you can use to sign up and get two months free. Unique qualities. I'd say the most unique thing about art grid, is there a high caliber cinematography focused platform? And right now they're only focused on stock footage. They don't have other things like images or motion graphics or templates or anything like that. They do have a sister site art list, which provides stock music and sound effects for videos. But on the art grid site, they only have footage. I do also have a link in the description for two free months of artless music. So if you're looking for great music for your video edits, or at least has a lot of great options in there. But back to our grid, the user layout is very cool. It looks modern and it has that cinematic feel. As for the contributor side of things, our grid is unique in the way they want contributors to do things. So our grid is one of my favorites, but they're also the only one on this list that requires you to submit an application in order to become a contributor. Basically, that just means you have to show them a sample of your work. And if your videos are up to their standards, they will accept you and you can start selling on there. But they are definitely picky about the quality of videos they're looking for and they don't accept everyone. But if you have some samples of your work that have good cinematography, I would absolutely recommend submitting an application because you never know what they might be looking for. And you can potentially make a lot with art grid. How to sign up, okay, to sign up as a contributor first you click over here to become a filmmaker. Then you go down to the bottom and say start now. Then it's going to ask for your details and what kind of projects you work on and whether or not you own a fork, a camera. They say they only accept filmmakers right now who shoot 4k a footage. However, rarely they will still accept HD footage. If it's really good or unique, then you need to submit links to at least four of your existing video clips that you plan on selling on art grid. So if those clips have people in them, you need to already have model releases for those videos. If you don't have a model release footage that you can sell yet, that's okay. That just means you can focus on shooting and submitting to the other platforms until you have some good shots in your portfolio that you can submit with your art grid application. So actually talk to the art good creative director about what they look for in their new filmmaker applications. And this is what he said. We review the artistic approach in all aspects, composition, lighting, directing style, technical aspects, and relevant content. So basically they want their filmmakers to have good cinematography or filmmaking skills in general. He also said they look for non generic shots that have a clean, high production aesthetic. So they're looking for more high-end cinematic, well shot things. So once you get accepted as an art grid contributor or filmmaker and you're ready to upload footage. They want you to upload your footage and what they call stories instead of individual clips. So one way that our grid differentiates themselves is by focusing on telling stories with their footage and not just having standalone, pretty images. So what they call a story is a group of at least five connected clips. So usually these clips would be all of the same scene. So it could be 20 clips of a woman playing fetch with her dog. But a story could also be clips that are all about the same subject or have the same theme. So it could just be New York City, that could be the theme and it could be shots of anything going on in New York City that all have a similar vibe. From the time you submit your footage to when it becomes live, ready to be downloaded is several weeks right now. So it does take longer than the other sites, mostly because they do more to curate the footage. They go through it more meticulously and they actually set all the names and titles for you. But also I think they have a pretty big backlog of footage that they're going through right now. So it's just going to take a little longer. Revenue model. The art good revenue model is pretty interesting and it's definitely unique. So a percentage of all the subscription fees from art grid users are set aside and what they call an artist's account. And at the end of the year they take this amount and then divide it by the number of total downloads on the site to determine the exact value of one download, then each filmmaker is paid according to the number of downloads there footage received. So you get paid once at the end of the year, not whenever someone downloads your videos like on the other sites. So to give you an idea of what this looks like, my art grid 2020. In 2020, I had only 312 clips for sale on art grid. And that year I got a total of 19,316 downloads and I made a total of $6,453. So it's a pretty good payout for the amount of clips that I had on there. So the revenue model is definitely interesting and it seems to pay well, so that's all for the art Grid overview. I definitely recommend applying to be a contributor. If you have existing clips you can submit with your application, you can go ahead and sign up for an account. 16. Uploading SEQ 1: Publishing, streamlining and scaling. Okay, so you've got all your footage filmed and edited, and keyword and ready. Now we get to actually upload the footage and start making money. Most sites allow you to upload directly onto their site. But the way sites work, this can take hours or even days depending on how many files you have and your Internet speed. And then uploads fail and it takes forever. So what I use instead to upload almost all of my files is something called an FTP. This is a separate application that you can upload your files through. And it's way faster and more efficient and more reliable uploading through the websites themselves. It's a huge time-saver. So there are a few different FTP applications out there, but the one that I use is called FileZilla. It's free to download and easy to use and every stock footage site can connect to it. So now I'm gonna go through exactly how to upload to each of the stock platforms. I like to upload to our grid first one because they take the longest to approve the files, and two, because they're the only site that I actually don't use FileZilla to upload. What I actually do is upload my videos through their online filmmaker portal. They make it pretty easy to upload through their website and it usually doesn't take too long. You can use FTP to upload to our grid if you want. But the way they have it set up, it's really complicated. And you have to organize your footage into all these folders and subfolders. And it just gets confusing. So I stick with their filmmaker portal only for art grid on their website, just because it makes things easier and less complicated for me to upload. You go here to your filmmaker portal and enter the story name. Whatever name you want for the collection of video clips that you'll be uploading. This is your store name. It doesn't matter too much, just something short and descriptive. It could just be farmers market or man at the beach. There's something basic. Then you click the number of people in the videos. Then you upload the model releases for those people. Then you can upload your footage. So your fork a footage here. And the ungraded log or raw files for that footage here. If you're trying to upload HD footage, you should be able to upload it to this fork, a graded box, but whether they accept it, once they review it, it will just depend on the quality of the HD footage. One thing I should point out is with the ungraded log or raw box here. To upload this box, the footage has to actually be the log or raw files. Then your files will start uploading and you can hit Next. This is where you select your video theme, which is just another word for category. And down here, you enter your tags or keywords. So what I do is just open my metadata CSV file for that shoot. And I just copy all the keywords from a clip that is a good representation of the story that I'm gonna be uploading. And then just paste them here. And it'll usually give you some good keywords suggestions so you can look at those and see if there are any good additions that you can add to your list. And then you say submit, and that's it. Now, once the upload is done, our grid, we'll go through the footage and add titles for each clip. And within a few weeks there'll be live on your page. So that's the art grid upload process. Now I'm gonna go over the upload process for the rest of the platforms. So the first thing we need to do is download FileZilla, so you can click the link in the description, it's FileZilla-project.org. Then select the quick download for FileZilla client. Then just say Download. Once that's downloaded, you can open it up and it should look like this. Now, we need to set it up with all the platforms will be uploading two. So you want to first go up here, this little icon in the top left that'll open up your site manager window. Here's where we want to enter our new sites. So you want to first click new site, and we'll start with Shutterstock. Now we're going to fill out this information on the right for each site, this info will be different. So you should see I included in this lesson on FTP info PDF. This is a file where I put all the FTP login info for each of the sites. So you can reference that to help you add this info. I'm going to pull the FTP sheet up so you can see the Shutterstock host is FTP S.Shutterstock.com. I'm just going to copy that and paste it here on host. User is your Shutterstock account login, email address, and password is your Shutterstock password. So whatever email and password you use to login to your Shutterstock contributor account. That's what goes here. Then you click Connect. And it should take a second to connect. And yet you can see up at the top directory listing successful. So we're now connected to Shutterstock and we can upload. But before we do that, I'm gonna go ahead and enter the info for the rest of the platform. So we have it. So I'm gonna go back to the site manager. New site, click new site and Adobe stock. In the FTP info sheet you can see here's the host name for Adobe Stock. So copy that and paste it here for host. Then you're going to find your username and password in your Adobe contributor portal. So you can just click the link here and a PDF, and that'll take you to your contributor portal for Adobe. From here, you're going to click this little Learn More button and it should pop up with your FTP info. So your username is where it says ID. So copy this number and paste it over here. And user. Then click Generate Password with Adobe Stock. They're gonna give you a new FTP password every time you upload your footage. So copy that and paste it for password. Then say connect. If you're already connected to Shutterstock, this window will come up asking if you want to open a new tab to open Adobe Stock or disconnect from Shutterstock. I'm just going to say open a new tab. Directory listing successful. Now we're connected to Adobe Stock. So right now we're connected to both both Shutterstock and Adobe stock. But before we upload, I'm gonna go ahead and connect to the last platform pond five. So back to your site manager. News site, pond five. So copy the host name and FTP info. Paste it here. User is gonna be your pond five username. So whatever you use to login to your pawn five account. For pawn five, you have to create a special FTP password. So click this link here in your PDF info PDF. This takes you to your pawn five contributor dashboard. Then you can put in whatever you want for your FTP password. This is gonna be different than your account login password is just for your FTP, it's just for FileZilla. Then you enter this password here and hit Connect. Alright, so now you have three tabs open and now you can start uploading your footage. So first we're going to upload to Shutterstock. I just pull up the folder with your footage and select all the videos you want to upload. And you just drag them into this window here. You want to make sure you don't drag it into the release folder and drag and below that, and then it'll start uploading. Then you can go ahead and click on the Adobe stock tab and drag your footage into this window again, that'll start uploading it to Adobe Stock. And then you can do the same thing with pond five, open pond five tab, drag the footage over, and that'll start uploading to pawn five. So depending how many files you're gonna be uploading, this could take a little while, but when everything is done and uploaded, you can go in and actually submit the uploaded files. So I'm going to start with Shutterstock. So you go to your contributor account which is at Submit Shutterstock.com. And go here to video's not yet submitted. So this is the Shutterstock submission page. So you should now see all your uploaded files here. And now we want to connect the CSV metadata sheet we made with all the keywords. So go up here to upload CSV. Then you find wherever you put the CSV for this shoot, it should be in the same folder as the files. And so I do it at least. Alright, then you can select your files and see that the metadata has successfully connected. We have our description, categories and keywords. Then you can see they give you the keyword suggestions that could be applicable for the clips. So you can go through those if you want and see if any stand out to you that would be good to add. But you don't have to add anything at this point. Then you want to upload your model and property releases. So to upload those, you're gonna go here to releases and click upload new release. And then you want to find the right release for that shot. Once that's uploaded, that's it. You can hit submit and that will send your footage to the Shutterstock team to review and approve within a week or two. That's the Shutterstock upload process. And after you hit Submit, you're officially a stock footage filmmaker. So congratulations. But before you go reward yourself, you can go ahead and upload to Adobe stock. For starters, you're going to do the same thing. You're going to go to your Adobe contributor account, which is at contributor.stock.adobe.com. Then you go here to upload files. Knew the files you just uploaded should all be right here. Then to connect your CSV, you go here to upload CSV. You want to click choose CSV file and then find and select your CSV. Then upload. And as long as the CSV file is all lined up right there, system connects all the metadata to the video files. So next you want to connect your releases. So go over here to releases, and on the right is create a release. Then you're going to want to click this option, upload a scanned release. Then you enter a name for the release, then browse to find that releasing your files. Once you selected say Okay, then upload release. Now, to connect the release to the right footage, you're gonna go over here where it says recognizable people or property and you want to say yes. And then just click on the right release for those clips. Then you can go down and make sure your title and keywords all look good. And nothing got out of order in the CSV upload process. So if everything is looking good, you can select all your files and go up here and click Submit. And then you're done with the Adobe Stock process. And next, I'll finish off with pawn five. So pull up your contributor account dashboard with pawn five, which you can get to by going to pawn five.com. And then over here it should have your profile picture or say sign-in. So once you're signed in, you can go down here to uploads. And down here, it'll show you all your uploads once you've already submitted and ones you haven't submitted yet. So first we're going to connect our upon five CSV. So click right here on Apply CSV. And you're going to make a few selections here. You want to limit two clips. Limit two clips that need be tagged. The date format is good. And command, apply CSV two clips. Then choose file. Make sure you find your pawn five CSV file and not the CSV file for one of the other sites. And say, Okay, and then click Submit and then go back to my uploads. And now it should have the metadata linked to all your new uploads. So next we want to upload releases. So right here is releases. Click on that. Then up here in blue is upload property and model releases. You can either drag and drop or browse for the relevant releases. So once those are uploaded, you can go back to my uploads and now you want to select all the files you want to attach a certain release too. So you can go over here to the far right and check this box to select a file. So once you've selected all the files, you want to add the release to, you can go all the way to the bottom to actions and find where it says Attach release. Then where it says Attach release here, you find the release that you just uploaded and click Execute. And this will attach that release to all the uploads that you checked. As for setting the price for your uploads automatically, they should be set with pawn fives default, minimum amount. If you are relatively new videographer, that couldn't be good if you're someone that experienced, I usually like to go a little higher than this. I recommend going to pawn fives, data and trends, and scrolling down to find the median sold price for footage. So I would put my price around $57 for HD and $87 for, for K. I like indigo price in a seven. I've heard it's one of those psychological things people tend to like a price that ends in seven. I don't know if it's actually true. I haven't really tested it, but it sounds good to me. So it's something I like to do. So to actually set those prices for your clips, you again select all the clips you want to change. And go down to the bottom again, where it says Actions and scroll all the way down to set price. Then enter whatever price you want. So fifty-seven dollars and then execute. Okay. Then you might have to refresh the page to see if it works. Yep. That changed to $57. So then you look over your clips at the title description tags and prices, and if everything looks good, you are ready to submit them for approval. So again, you're going to select all the clips you want to submit. So you go and check them all. And then go back to the bottom two actions. This time we're just going to say Submit and then execute. And now you're done with pond five. So in a few days you should get a message from them saying your clips have been reviewed and either approved or rejected. If some of your eclipse get rejected, it's not a big deal at all. I still have clips get rejected every now and then for whatever reason, maybe it was a logo that was in there that I didn't see or maybe there was a blurry person in the background that they thought was too identifiable and I didn't have a released for them. It could be any number of reasons, but one or two clips getting rejected is not worth worrying about. And if a clip gets rejected by one platform, it still might get accepted by another platform, but most likely your clips will be accepted and then it can start getting downloaded and making sales. That's my uploading process. I'm sure it can seem like a lot if it's brand new to you, but feel free to have this video open while you're uploading for the first time and follow along. Once you do it, a couple of times, you'll get used to it and you'll be a lot faster with the whole uploading process. And you can download the FTP info sheet and reference that when you're using FileZilla. And that wraps it up for uploading. At this point, you can go ahead and start uploading your footage after this, your videos, we'll officially finally be out in the world ready to make sales. As always, let me know if you have any questions. And in the next lesson, I'm gonna be talking about making a system for yourself to stay consistent with selling stock footage. 17. Consistency SEQ 1: Consistency. More clips equals more sales. So this is one of the cornerstones of selling stock footage successfully. Content keywords, consistency. You can't expect to upload five clips onetime and sit back and wait for the cash to Rollin. You need to be creating footage and uploading that footage on a regular basis, at least until you build up a decent size portfolio. But even when you have a portfolio with a 1000 clips, you could be earning twice as much if you had 2 thousand clips. But I'm not telling you to be forced to upload stock footage and never stopped uploading. But shooting stock photos should be fun. If you're not having fun making videos, you're not doing it right. And shooting stock footage is just about the lowest pressure niche in the videography world. So as long as you're enjoying making videos, you should make stock footage so you can earn passive income from your videos. If I haven't gotten across yet, I'm just a big fan of stock footage all around. But getting back on track, you won't make any money if you only have five or ten clips for sale. As I've said before, I wasn't making goods sales until I had about 200 clips in my portfolio. So if you want, you can keep that in mind as a rough goal for yourself. Once you're at 200 solid clips, you'll be making some good consistent sales. And the way you get to 200 solid clips and beyond is by having a system in place to help you stay on track and continue shooting videos on a regular basis. But what the system is could look differently for each person. So one way to stay consistent is to have a monthly goal. That goal could be to film and upload one new shoot every month. Or it could be to upload 20 clips a month, or it could be a 100 clips a month. You have to find your own pace and what's gonna work best for you. But having short-term goals like that, like every month you're aiming for something that can be a really good motivator. You can also have long-term goals. So that could be upload 200 clips by October or have 500 clips in my portfolio this time next year. And then whatever you decide that is, put that in your calendar as something to work towards that goal, have it solidified and then work towards it. So if 200 or 500 clips sounds like a lot and you're wondering how long is it going to take to get there? It's really not that many. The other day I filmed for about an hour, some footage of my wife playing records, and I got about 40 clips. It took probably another hour or so to edit and upload, and that was it. Now those clips are ready online, ready to make sales. So you do that five times and that's 200 clips. So it really doesn't have to take that long. So there's just a couple of ways that you can create actionable goals for yourself to shoot and upload new footage consistently. Another thing you can do is take advantage of this group, this stock footage unlocked community. You can write in the group to find another stock footage filmmaker who can be a sort of accountability partner. So you can keep each other on track. You can say, let's both try to add 40 clips to our portfolio by next month and then communicate with them, see how you're doing. Or you can make it a competition. Say the first one to 200 clips wins, whatever, but take advantage of having the access to the other videographers in this group who were doing the same thing as u. But to wrap this lesson up, if you stay consistent with your videos, you will make sales, content, keywords consistency. As always, reach out if you have any questions, I'm here to help you get to your goals of consistent passive income. Hopefully at this point you have everything you need to know to create your own stock footage portfolio and make consistent sales from it. But if I can leave you with one last thing, I really want to emphasize, it's just have fun filming. Making videos is fun when it comes to careers, it doesn't get much better than making money, having fun, and doing something you love. I'll see you around.