News & Press Releases

This summer, the Artbeats film crew was given an opportunity to film fireworks from a unique perspective, one that not many people get. Homeland Fireworks, a specialty pyrotechnics firm in Oregon, allowed us to place our cameras directly inside the launch pit. We soon discovered that this would not be a typical shoot.
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Quite often we're asked to explain the difference between Rights Managed and Royalty-Free stock footage. So many editors are accustomed to purchasing under the Rights Managed model. However, Royalty-Free can be an economical alternative. Here's a quick overview to help you decide which footage license fits best for your needs.
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Recently we were asked if it's more difficult to shoot 3D footage than standard 2D footage, or whether it's just a question of choosing the right camera. That got us thinking that maybe we should explain some of what goes into an Artbeats 3D shoot.
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Q: Why is Artbeats footage in so many different frame rates?

A: This is a common question we get here at Artbeats. Producers working on a project will find the perfect shot in our library, but then it turns out that the clip is at a different frame rate than the rest of their footage. There are usually acceptable work-arounds for this problem, but why does the problem exist in the first place?
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On a bitterly cold evening at a small farm in Riddle, Oregon, I let go of my hand warmers and pushed the record buttons on the two genlocked RED MX cameras. My camera assistant, Annette clapped the slate and I gave Larry, the pyrotechnician, the OK to ignite the fuel floating in a 4' x 8' metal pan. All thoughts of our cold discomfort were gone as the fire grew to a brilliant roaring inferno. After five long years, Artbeats was shooting fire again. Even though it was a small test, I felt the familiar thrill.
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