FootageHub Brand Spotlight Q & A

Interview with Steve Gibby


Q: When did you begin shooting?
A: I shot my first still photos in 1969, first 16mm film in the mid-70's, first television footage in the late '70's, various incarnations of analog and digital camera systems throughout the 80's and '90's, and moved to DSLR and digital cinema cameras around 2002. Stock footage has been an important part of my motion media business plan since the mid-'80's.

Q: What is your favorite subject to shoot?
A: After 30+ years in this industry, and travel for work to 65 countries, that's a hard question to answer! My favorite genres to shoot are travel, wildlife, music, cultures, tourism, nature, and sports. Some of my favorite work has been in Hawaii, The Rockies, California Coast, Africa, Australia, The Pacific, and Alaska. My individual favorite productions have been at the NFL Super Bowl, the classic rock band Journey in concert in the Philippines, National Geographic nature documentaries in Alaska, and game parks in South Africa. I like mobility, fresh air, wide-open vistas, and the raw energy of the natural environment!

Q: Which camera(s) do you prefer for shooting stock footage?
A: All my camera systems are RED One digital cinema cameras. I own several of them. I was one of the very first adopters of the RED One camera, receiving serial #0008 way back in August 2007, and my other RED cameras shortly after that. The versatility of shooting RAW is very attractive to me, for the regular TV and film projects I produce/direct/DP, but also for directly targeted stock footage. RED One can shoot in multiple resolutions - 4k (four times the resolution of 1080p), 3k, and 2k, at frame rates (depending on resolution) that vary from 1 frame per second up to 120 frames per second. Shooting 4k and 3k resolutions effectively "future proofs" my footage library. The 4k RAW and 3k RAW resolutions can be easily processed in post via software, then resampled and scaled down to stunning 1080p - or delivered to clients in the original 4k or 3k for them to process themselves. Unlike RGB footage shot by traditional 2/3" camera systems, where the properties of the shots are "baked into" the medium, with RAW, nothing is baked in. This allows me, and clients like Artbeats (and their clients), to "push and pull" the look of the footage any way they want or need to - without affecting the original RAW file. This is exactly the same flexibility of use you get from shooting RAW stills with a DSLR. In my opinion RAW is not only the "future" of the stock footage industry - but with cameras like RED in broad usage now, it is the "present"!

Q: What's your favorite clip that you currently have represented in the Artbeats FootageHub?
A: I can't answer that question! All the clips I submit to Artbeats are hand selected for subject matter, composition, and for the "statement" they make. Since I shoot in a wide variety of genres and styles, I've submitted clips that reflect that diversity. In the wildlife shots, I like to catch the subject animals in unusual behavior, or just "being themselves" so to speak. When I'm out and about I see shots everywhere! I've learned to have a camera with me constantly - because when I haven't had a camera is when I've stumbled across some of the most amazing shots - which went by un-recorded.

Q: What advice can you give to shooters who are just getting started in the stock footage industry?
A: If possible, carry a camera with you wherever you go. That way you're prepared to capture that shot of a lifetime if it presents itself. You'll also be able to shoot tons of great stock footage that way. Shooting stock footage is about timing, preparedness, and commitment. Lazy shooters never seem to get a lot of worthwhile stock. Being passionate about your craft is half the game. The rest is knowing your equipment extremely well so you can spring into action quickly when great shots present themselves. Successful workers in this industry are equal parts artist, techie, manager, and journalist. Acquiring and marketing top-level stock footage requires you to wear all those hats at various times. Think diversity in your skill sets. Constantly challenge yourselves to learn new camera techniques and styles of shooting. This will diversify your stock footage offerings. Seize every spare moment away from your normal work to just get out and shoot stock footage. Accumulate are strong, broad library of footage, and then approach a stock footage company to represent your library. In my opinion it is best to select only a single good company, or a few companies to represent you footage. I highly recommend Artbeats if you have footage of the caliber for them. Send only your best footage to the stock agencies that represent you - don't flood them with mediocre footage. That will save them time, and in the process elevate their opinion of your work. Lastly, have fun out there shooting! Your passion and commitment will be reflected in the quality of your footage.

View all of Steve Gibby's footage

About Steve Gibby:
Steve Gibby is a multiple Emmy-winning, 30-year veteran of several hundred international and national television programs that aired on fourteen different broadcast and cable networks, including NBC, ESPN, ESPN2, Fox Sports Net, National Geographic, Animal Planet, Spike, OLN, SPEED, UPN, Fuel, Prime Sports Network, DISH, Comcast, and many others. His core genres of production have been adventure travel, alternative sports, wildlife, tourism, lifestyle, nature, music, and cultures. His specialty is small, mobile, affordable crews shooting worldwide in a broad variety of cinematic hybrid and television styles. He is a deeply experienced field producer, director, DP, cinematographer, and videographer. His premier camera systems include multiple RED One digital cinema cameras (4k, 3k, 2k), but he also shoots with an F900 and on occasion with various other cameras. His image acquisition skill sets include: cinematography and videography via tripod, hand held, shoulder held, interviews, working with talent, POV cameras, jibs, stabilizers, digital still photography, in-water, and many others.

As an example of Steve's work, he field produced, directed, and shot the multiple Emmy-winning ESPN series "Hawaiian Sports Adventure" for two seasons (20 half hour programs). Those award-winning programs included elements of adventure travel, alternative sports, culture, lifestyle, and resort/tourism profiles. The tiny field crew for those shows was Steve, an assistant, and talent. Recently Steve served as an Executive Producer and a DP for "Icy Killers", a wildlife documentary produced in Alaska that airing nationally and internationally on National Geographic Channel in March 2009. He also served in March 2009 as a DP and shoulder held cinematographer for a 10 RED camera HDTV and DVD production in Manila, Philippines featuring the legendary rock band Journey in concert. Between projects he regularly shoots RED camera stock footage in various areas of the world.

Steve has received over 65 national awards for his television production work. He serves annually as a national Emmy Awards judge for several competitions: Daytime, Primetime, Sports, and others. His network-level skills and experience include: executive producer, producer, director, DP, editor, scriptwriter, and cinematographer. In addition, Steve is a former multiple term member of the Board of Governors, of the National Academy of Television Arts and Sciences (NATAS-Pacific Southwest). He is also a longtime technical and creative writer for several national television and film trade magazines, including Studio Monthly, Film and Video, TV Technology, HD Studio, Millimeter, and many others.