Why is stock footage so expensive?
If you’ve ever found yourself Googling “why is stock footage so expensive,” you’re not alone. It’s a question that crops up time and again, especially among filmmakers, content creators, and producers trying to stretch their budgets. But here’s the thing—I’m going to let you in on a little secret: stock footage isn’t expensive. In fact, it’s an absolute steal, especially when you compare it to the alternative. Since this blog is tailored just for you, I’ll break it down with a personal twist, drawing from my own experiences globe-trotting, filming, and building a stock footage library that’s turning heads in March 2025.
Let’s start with a reality check. I’ve been flown to over 30 countries to shoot video for various projects—think sweeping aerials over the Swiss Alps, bustling street scenes in Tokyo, or golden-hour shots in the Moroccan desert. Sounds glamorous, right? Sure, until you tally up the costs. Flights (often business class because of tight schedules and excess baggage), taxis weaving through chaotic cities, hotel stays ranging from boutique to barely tolerable, filming permits that average £300–£1,000 but I’ve paid as much as £10,000, and local fixers who know the lay of the land—all of that adds up fast. For a single project, I’ve seen budgets balloon into the tens of thousands, sometimes pushing £50,000 (around $65,000 for my American friends) or more. And that’s before you factor in the crew, equipment, and post-production.
Take one example: I once flew to Lisbon for a shoot, hyped to capture some stunning drone footage over the Tagus River. Guess what? It rained for three days straight. Three days of soggy disappointment, twiddling my thumbs in a hotel, and a client who wasn’t thrilled about the extra costs for a reschedule. That’s the kind of gamble you take with bespoke shoots—Sod’s Law in full effect. Now, compare that to stock footage. With stock, you’re not rolling the dice on weather, logistics, or whatever else can go wrong. You get exactly what you need, when you need it, for a fraction of the price.
My Stock Footage: Premium Vibes, Bargain Price
Here’s where it gets personal. I’ve poured my heart, soul, and a fair bit of geeky weather knowledge into my stock footage library. As of right now, March 27, 2025, it’s a growing library sitting at 81 hours, 39 minutes, and 14 seconds of pristine 4K footage—13,876 clips of stunning visuals, from jaw-dropping Snowdonia cloud inversions to Manchester under impossibly clear blue skies. Manchester! Blue skies! Imagine that.
The average cost per clip? Just £22.61 (about $29 for my American friends). My unique selling point (USP) is unbeatable: no extra fees for 4K quality, no extra fees for broadcast television and film use—plus, you’re getting footage from one of the world’s most experienced drone camera operators and pilots. Check my bio—I’ve done a fair bit. I’ve flown drones around the Eiffel Tower in Paris, earning the nickname “Drone Jedi” on that gig, as you do. My technical expertise delivers phenomenal drone shots, exquisite slow-motion city gimbal shots, and otherworldly drone hyperlapses and timelapses that are truly unique. Unlike the free stock footage out there—trash, overused rubbish more often than not, like preparing a meal out of a rubbish bin (a chef would never stoop to that)—my footage stands out, fresh and exclusive across my growing library. Compare that to the big players—Shutterstock, Adobe Stock, Pond5, Getty Images—where prices climb with 4K surcharges or usage fees for TV and film. With my footage, you pay once, and it’s yours—4K as standard, broadcast-ready, no hidden costs, backed by decades of drone mastery. Use it in any project under your name, over and over again, full terms apply. It’s not just affordable—it’s a downright bargain.
The Weather Geek Advantage
One thing that sets my stock footage apart? I’m a bit of a weather nerd. I don’t just shoot pretty pictures—I time my shots to perfection. Those Snowdonia cloud inversions? That’s not luck; it’s hours of studying weather patterns, knowing when the mist will settle just right to create that ethereal, otherworldly vibe. Clear blue skies over Manchester? I’ve got clip packs that make the city look like it’s auditioning for a Hollywood blockbuster. With bespoke shoots, you’re at the mercy of the elements—I’ve been rained off, fogged out, and wind-whipped more times than I can count. With my stock footage, I’ve already done the hard work, guaranteeing not just the shot, but the best shot.
The Gear: Cinematic Quality Doesn’t Come Cheap
Let’s talk equipment, because cinematic, world-class footage doesn’t happen by magic. I use high-tech gear—top-tier stuff that’s earned me my stripes. The camera I use week in, week out? It cost £400,000 new—a beast built for the highest quality. I’ve also worked with unmanned systems pushing almost £1,000,000 and multi-rotor drones worth over £75,000. That kit, paired with my drone pilot and gimbal technical expertise, delivers jaw-dropping results—phenomenal drone shots that got me dubbed the “Drone Jedi” in Paris, exquisite slow-motion city gimbal shots, and otherworldly drone hyperlapses and timelapses. It’s a massive investment, but when you buy my stock footage, you’re tapping into that premium quality without footing the bill—all in 4K, no extra fees, ready for broadcast television and film.
Premium Packs: Big Value, Small Price Per Clip
My stock footage is serious value, uniquely crafted by my drone mastery—here’s a taste of some incredible packs from my growing library. Take Clip Pack #54: Rhinog Fawr. Priced at £6,500, it includes weeks of capturing, grading, and editing, shot in surreal conditions with my high-tech gear, delivering some of the best Snowdonia National Park footage ever—231 clips across 57 minutes and 4 seconds, just £28.14 each, all in 4K, no extra fees for broadcast use. Nothing overused here—just fresh, standout visuals.
Or Clip Pack #32: York—£10,000 for 4 hours, 27 minutes, and 10 seconds of footage: drones, gimbals, timelapses, high-motion gimbals, and prime lenses. That’s 448 clips, averaging £22.32 per clip, capturing York’s medieval streets and countryside vistas with phenomenal drone shots and exquisite slow-motion gimbal work—4K standard, no extra fees for television or film, uniquely mine, not some tired freebie clip.
Then there’s Clip Pack #101: Tokyo, Japan. For £2,500 (around $3,250), you get 78 premium clips across 21 minutes and 6 seconds—vibrant cityscapes, neon-lit streets, serene scenes—all in 4K for £32.05 per clip, shot with my ground-based “Drone Jedi” finesse and technical expertise for otherworldly moves. No extra fees for broadcast, no rubbish-bin vibes—just pure, unique value.
Or Clip Pack #144: Generic British Countryside. At £595, you snag 59 clips across 16 minutes and 52 seconds of rolling hills, quaint villages, and golden fields for £10.08 per clip—4K, broadcast-ready, no hidden fees, enhanced by my weather-timed drone shots. It’s not the overused free stock trash—it’s bespoke beauty.
For something atmospheric, check out Clip Pack #23: Shropshire Hills Winter Landscape. At £2,500, you get 85 clips across 35 minutes and 17 seconds, featuring wild camping with drone shots and cloud inversion timelapses—£29.41 per clip, all in 4K, no extra fees for broadcast. My weather geek skills and “Drone Jedi” expertise shine here, capturing winter magic like no one else.
If urban hyperlapses are your thing, Clip Pack #204: Birmingham Spaghetti Junction Drone Video and Timelapse/Hyperlapse is a gem. For £2,500, you get 76 clips across 19 minutes and 5 seconds—£32.89 per clip, showcasing my technical mastery with otherworldly drone hyperlapses over this iconic UK landmark, all in 4K, no extra fees for TV or film.
For a unique, thematic pack, Clip Pack #16: Coffee in the Woods offers 513 clips across 3 hours and 57 minutes for £15,000—£29.24 per clip, including full films with audio. It’s a serene, cinematic collection of woodland coffee-making scenes, shot with my high-tech gear, perfect for lifestyle or nature projects, all in 4K, broadcast-ready, no hidden fees.
I’ve got smaller packs and singles starting at £95 too, spanning my growing library. Whether you’re a big production company, TV producer, or editor, the value’s unbeatable—no extra fees for 4K, no extra fees for broadcast television and film, all from a seasoned “Drone Jedi” with footage that’s one-of-a-kind.
The Hidden Costs of Big Stock Libraries
I buy stock footage too—I’m not above it. Neither are my clients or colleagues. But the big corporations can sting you. I once had a drone clip from a major provider (let’s say their name starts with an “S”) in a film that aired on Netflix. The clip was only used for 2 seconds—2 seconds!—and twelve months later, they demanded an extra £800 in fees. An extra £800 for 2 seconds! No warning, just “pay up.” That’s a headache you don’t need. With my footage, that never happens. My USP shines: no extra fees for 4K, no extra fees for broadcast television and film. My licence is crystal clear—buy it once, use it forever, no surprises. My clips, shot with world-class drone and gimbal expertise, have racked up billions of views in TV shows, documentaries, and films. I’ve never chased anyone for more money or attribution—I just want you to make something amazing.
Stock Footage Companies: The Full List
Here’s a rundown of stock footage companies (not exhaustive, but the key players as of March 2025):
Shutterstock: Massive library, 4K surcharges, usage fees for TV/film.
Adobe Stock: Creative Cloud integration, pricey with extra costs for 4K and broadcast.
Pond5: Huge variety, premium clips and licensing jack up costs.
Getty Images: Premium, exclusive—high prices, rights-managed fees.
iStock: Getty’s royalty-free arm, still has 4K and usage add-ons.
Storyblocks: Subscription-based, affordable, quality varies.
Envato Elements: Unlimited downloads, mixed quality, extra fees for some uses.
Filmsupply: Cinematic, narrative-driven, pricey with complex licensing.
Artlist: Subscription for unlimited clips, broadcast fees can apply.
Videvo: Free and paid options, attribution often required.
Pexels: Free, royalty-free, limited professional scope.
Pixabay: Free clips, some with music, not always broadcast-ready.
Motion Array: Templates and footage, extra costs for premium tiers.
Dissolve: Curated, high-quality, pricey with usage fees.
VideoHive: Per-clip purchases, quality varies, broadcast fees possible.
123RF: Affordable, but 4K and TV/film use cost more.
Depositphotos: Broad library, extra fees for premium resolutions and uses.
Sony Pictures Stock Footage: Feature-film quality, high cost, restrictive licensing.
Footage.net: Aggregator, searches multiple archives, pricing varies.
Mixkit: Free, limited scope, no extra fees but less professional.
Distill: High-quality, free with signup, small library.
CNN Collection: News-focused, expensive, rights-managed.
Corbis Motion (via Getty): Premium archive, costly with usage fees.
Chris Homer: The “Drone Jedi” himself—unique, world-class 4K footage, no extra fees for 4K or broadcast television and film, a cinematic treasure trove from a drone pioneer who’s soared above the rest (check my bio!).
My USP stands out: no extra fees for 4K, no extra fees for broadcast television and film, plus footage from a drone legend (or is it leg-end?) that’s usually anything but generic.
Stock Footage vs. Custom Shoots: The Maths Doesn’t Lie
Let’s crunch numbers, including editing, grading, and processing (1 day per 50-100 clips, editor’s rate £300–£500/day). Timelapses and hyperlapses take longer—think a day for every 10 timelapses, and hyperlapses can take many hours per clip, especially with my “otherworldly” techniques.
For 448 clips like York, shot locally (10-20 days):
Hotel (10-20 nights, local rate): £1,000–£2,000
Local transport: £500–£1,000
Filming permits: £1,000–£3,000
My day rate (10-20 days): £10,000–£20,000
Producer’s day rate (10-20 days): £5,000–£10,000
Local crew & expenses (10-20 days): £2,000–£5,000
Editing (5-9 days, 50-100 clips/day): £1,500–£4,500
Total: £21,000–£45,500
Clip Pack #32: York—£10,000 for 448 clips, 4K, edited with my “Drone Jedi” flair, no extra fees for broadcast.
For Tokyo—78 clips, 2 days, me and producer combined:
Flights: £500–£3,000
Hotel/parking/expenses (2 nights): £500–£1,000
Local transport: £100
Filming permits: £300–£1,000
Equipment & crew: £500–£2,000
My/producer’s filming day rate (2 days): £3,000–£4,000
Local crew & expenses (2 days): £400–£1,000
Editing (1-2 days, 50-100 clips/day): £300–£1,000
Total: £5,600–£13,000
Clip Pack #101: Tokyo—£2,500 for 78 clips, 4K, edited with my hyperlapse expertise, no extra fees for TV or film.
Then there are packs like The Generic Countryside Drone Stock Footage Pack (£595), part of my growing library, is it cost effective…? It’s bonkers… my unique footage crushes custom costs every time, even when it’s “generic”.
Why Stock Footage Feels “Expensive” (But Isn’t)
£10,000 for York or £2,500 for Tokyo might seem steep, but for big production companies, TV producers, and editors, it’s peanuts compared to custom shoots with editing. My packs are premium, 4K, shot with high-tech gear by a world-class specialist cameraman, graded and ready for broadcast—no extra fees for 4K, no extra fees for television and film, and never the overused rubbish of free stock. Try shooting it yourself: drones (£3,000+), cameras (£2,000–£400k), travel, expenses, permits, crew, editing—it’s a fortune. My stock delivers instant, unique, professional results—phenomenal drone shots, exquisite gimbal work—at a fraction of the cost.
The Bigger Picture: Stock Footage Is an Investment
Stock footage isn’t an expense—it’s an investment. That £22.32 clip from York, £32.05 from Tokyo, or £10.08 from the countryside can be reused across projects. A client used a drone shot in a corporate video, a TV ad, and a pitch reel—three uses, one price, no extra fees for broadcast. My library’s saved projects when shoots failed—priceless value from the “Drone Jedi,” no 4K or TV/film surcharges, and footage that’s uniquely mine.
Final Thoughts: Stock Footage Is a No-Brainer
So, why is stock footage so expensive? It’s not. My growing library—81 hours, 39 minutes, and 14 seconds, 13,876 clips, £22.61 average per clip—proves you can get cinematic quality without breaking the bank. Whether it’s £595 for countryside, £2,500 for Tokyo (about $3,250), £6,500 for Rhinog Fawr, or £10,000 for York, you get 4K, broadcast-ready footage with no extra fees for 4K, no extra fees for television and film—all from a drone pioneer with a Paris-earned “Jedi” title and a library that’s anything but trash. No weather woes, no logistical nightmares, no corporate cash grabs—just stunning, unique footage, fairly (And very cheaply) priced.
Next time you’re tempted to balk at stock footage costs, think of me stuck in Lisbon, rain lashing the windows, or shelling out £10k for a permit. Then head to my library. You’ll save a fortune—and maybe make your best work yet.
Happy creating!
Chris