I've been there for over 5 years.
I communicated well with their video department and they offered customised feedback.
Due to the mostly low earnings on videos, I've stopped uploading footage.
I mean earning cents on an exclusive video is not a viable option!
Now, in the photos department, despite their advertising that they would give feedback, all I got was "go and search the internet!"
I'm naturally not gonna share the details, as it's privileged correspondence, but I never got any customised help.
I have some photo sales earning high two digits figures but I still might earn cents from exclusive photos!
It's a mixed bag.
I suppose you should have over 1.000 accepted to get a decent income.
I have half, mostly due to the combination of low sales and not many high earnings, but I upload exclusive travel content.
Maybe nature content is in better demand.

Then, there's another thing.
Sometimes I track sales online but these might take 6 months to be paid, or in some cases more, probably due to agreements.
All I do is keep track of the sales I find online and then I email them.

Here's an extract from their email, sent to all artists today August 8 2024:
"To understand how customers would respond to a simpler pricing model, we ran a test for US customers in which all video clips were split into two price tiers, Standard and Premium. The results have been encouraging! The test significantly beat expectations for critical metrics, including increased buyer engagement and driving more revenue.
The new video price tiers will be implemented across all currencies on Pond5, and the Contributor Agreement will be updated effective August 22, 2024. A copy of the new Contributor Agreement can be found here.
We appreciate your ongoing partnership and adaptability as we work to optimize the uploader to account for the new price tiers. For now, please set prices for any new content as you always have, and our tools will place it in the appropriate tier"

What they don't mention is who and how are they going to decide where each video goes.
They could at least say they are going to send clips to Standard or Premium tiers based on resolution, past sales, keywords for content need or I don't know what.

It's disappointing they omitted that part.
They also do not mention the new prices in any case.
Furthermore, where is that metric available to read?
How many were the participants?

As for the da facto status they put us with no more being able to set our prices,
their house, their rules.
If you don't like it, do what you think it's best for you.

Only limited cameras (aside the latest iPhones) record ProRres internally.
I think some from Panasonic and can't remember about other brands.
I record non ProRres, either 8-bit or 10-bit (depending on the camera I use) and then export that via Premiere in ProRes.
I probably failed to explain the following clearly, so let me try again:
No matter your original recording, when exported in ProRes it locks to a fixed bitrate and color depth at 10-bit 4:2:2.
You can't mess with it. It's always the same.
Only the size grows bigger, but again at fixed settings, depending on the framerate.
A 60 fps 4K ProRes is way bigger than a 4K 24 fps ProRes.
This is sometimes a problem if you upload long drone clips. It might go above the usual 4GB limit (limit the agencies impose, not the codec or windows), so you might have to export a shorter clip, less than 60 seconds (if ever you do so!)
The high end customer won't know if your original recording was ProRes or not, 8-bit or 10-bit.
What he cares is that (although the preview is always compressed) what he buys will not deteriorate in quality when he edits it.

Some add the ProRes detail in the description.

Now, even if a video is not ProRres, the editor can always buy it, first save your non-ProRes video in ProRres HQ and then edit it.
It's kind of the same like if he buys a Jpeg photo and firstly saves it as .TIFF to avoid extra quality loss and compression, then edit it (maybe even in 16-bit) and in the end export back as an 8-bit Jpeg.

Therefore, all the fuss about ProRes has to do with the quality and better handling in post-production.

LOG is a profile, not a codec.
ProRes (in its variations) is a fixed codec, meaning you can't mess with bitrate. You just choose different implementations.
What codec do you shoot LOG with, using the iPhone's stock app?
Many people get confused because the free Blackmagic app lets you save LOG in different codecs.
LOG though, is supposed to be better than non-LOG, because (reports say - I don't know a way to test, other than my own eyes) LOG is closer to what the sensor gives and does not have the sharpening in video that the non-LOG has.
Many think that a sharpened video looks "better" and that a video with the sharpness set to zero or a negative one looks blurred.
Well, having worked for decades as a Broadcast TV video editor, I can safely say that all studios (after the Betacam years!) send us the series or movies in (yes HD usually, not 4K) ProRes HQ, via a secure server, and never but never has a series or movie a sharpened look.
In a nutshell, with my TV experience, ProRes HQ is great if you want to make more digital copies.
This means another copy for subtitling and possibly another copy reencoding for a lower bitrate so the video airs on TV.
Otherwise, ProRes (without HQ) as I said, according to Apple, is the lowest acceptable quality for non-visible copy loss.
Now, that's the theory and Broadcast use.
For stock, any video with 100 Mbps bitrate is just fine.
I have sold a video shot with a Samsung mobile for $700! I suppose the customer paid 3 times more to the agency!
Detail? the video was 8-bit 4:2:0 but uploaded in ProRes HQ.
I suppose you all now get my point.
There were about 12.000 videos available for the same content in Rome. (was editorial content)
From these 12.000 videos, about 1.000 were still videos (no panning) and only 100 were uploaded in ProRes HQ.
This means that the high-end customer was searching for ProRes HQ, because he knew he was going to re-edit it, and also knew he would have no visible loss.
The question for every contributor is:
Do you upload all your videos in ProRes HQ, waiting for such a big sale, or do you just send them in H.264 100 Mbps, to save time and space?
Each one will weigh this differently, depending on his knowledge and past sales.

Yes, for years either with a Samsung or iPhone.
I mostly use the phones for editorials and they sell ok.
With the iPhone, the latest models are ok with the 48 Mpixels ProRaw.
With Samsung which only shoots 12 Megapixels Raw, I find the RAW better than the 50M Jpeg, even when I resize the 50M, scaled down to 12M.
A final note about Samsung: The Expert RAW are bad! I mean bad!
They force a terrible plastic denoising that renders the Expert RAW pics useless!
Also, although the question is about photos, in the video, the iPhone in ProRes is naturally better,
but here's a suggestion about Samsung.
Go to the advanced menu in the video settings and double the bitrate.
This in 24 fps will double to almost 100 Mbps and makes a huge difference.
Finally, try to shoot HDR10+ with Samsung and then process it as Rec.709.
Shooting with the Samsung in HDR10+ forces the phone to shoot in H265 10-bit 4:2:0 without the need for an external application.

P.S. I haven't used the latest Samsung that I think shoots 50m in RAW, but only in the big model.

I mean we are probably all looking for something to save us time,
but I don't know if decent as Alexandre Rotenberg says is okay or if it just is an easy fix to make us feel relaxed and spend less time on tagging.
Anyway, here's what Rotenberg says:
https://brutallyhonestmicrostock.com/2023/11/07/review-of-phototag-ai-keywording-your-images-automatically-using-ai/

Yes, I have about 1.500 videos there and via the subscriptions, I earn $ 15 - 25 monthly.
They pay between 15-18 each month.
This is a monthly stable.
Single videos can still sell at your set price but for my portfolio, this only happens a couple of times a year.

Thanks for the reply.
No, I just described the fall landscape with the fallen leaves.
No area inclusion, either on the title or keywords and it's at a public park with no ticket entry.
The rejection itself is not important, the reason is.
Adobe probably has a kind of initial AI detection, judging from the note I might get some time on high ISO images, which if denoised get accepted.
Maybe this time the photo did not get past AI?

They have pre-selected 1 in 70 of my clips for evaluation. From these, a couple has already sold and at least one is a good earner in all agencies. The rest have to do with not widely offered content and at least one is unique. For me personally, $8 is a very bad deal that does not do any justice to the offered content. I guess each one has to decide based on his content and numbers. Noone is trying to influence others, we are all just sharing our different opinions.

In my case the downscaling seems to hide imperfections, that is why I use it.
If I am to shoot 12 Megapixels, I naturally prefer the RAW.
Two more things:
I have to buy the S22 to know but on S21 you can download an external apk, Samsung Expert RAW, that does all the tricks like pixel bining.
The drawback is that it is meaningless to use it on a moving subject, as you have to hold the phone still more time.
Expert RAW is supposed to save 16-bit instead of 12-bit RAW, which is an advantage, even compared to to other phones.
Finallly, at night if using a small tripod, an easy way to take long exposures is as follows:
Use the manual settings (Pro mode) go to maybe ISO-100 and try a longer exposure (going up to 30 seconds).
The problem is that if you choose like 4 or more seconds you do not have a preview of the final result brightness.
This can be easily achieved by trusting the EVF, despite the lack of proper preview.
You try the setting of using more seconds untill you see the EVF going to zero, not going left or right (underexposed or burned).
Not an ideal suggestion, rather a practical one.

A technical detail about sensor sizes:
Samsung S22 Ultra:1/1.33"
Samsung S22: 1/1.56"
iPhone 13 Pro Max: 1/1.65"
Samsung S21: 1/1.76"
iPhone 13: 1/1.9"

Although these are many times smaller even compared to a 4/3 one, if we only see numbers, not final quaility, S22 Ultra has the biggest sensor.

The Xiamomi Mi 11 Ultra has a bit bigger sensor though, at 1/1.28".

I finished uploading 10 GB of editorial and non-editorial videos and they all dissapeared the very second I have sent them for inspection.
I only had this problem with videos, not photos.
I suppose there is no point in uploading new video content until we see or hear about a fix.
What sounds as trouble is that we might have to spend hours to upload GB of content again, as the ones we did are not visible.
Wouldn't it be just easier if they at least popped up a mesage indicating the problem at our contributor's page?
That is not so difficult to implement.
I am very tempted to comment if this is part of the "Exciting improvements are coming soon." but I will not!

It's all very clear.
For non exclusive accounts, either you accept the terms or not.
For exclusive accounts, we have to know how will this 60% we get be calculated.
If it's 60% of our set price, then it's still ok for exclusive uploads.
If it's 60% of whatever Pond 5 decides, then exclusivity can be questioned already.
I will also have to write to Pond 5 support to find out I guess.

Thank you both for taking the time to reply.