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becoming the reel deal how to launch your film career in the camera department

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This eBook is for information purposes only. No false information was knowingly applied and information was supplied with an earnest care for clarity. Still, it is provided without warranty or guarantee. Evan Luzi and The Black and Blue assume no responsibility for losses or damages that arise from the use of this document or the information and advice within. Due to continually evolving technology, the information, links, or references within this guide may change rapidly and without notice. Affilliate Links Some of the links within this eBook are affiliate links which means I earn a small

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becoming the reel deal how to launch your film career in the camera department

commission if you follow them and pay for a product or service. This helps pay for costs associated with The Black and Blue and also keeps this eBook free. With that said, I will never provide an affiliate link unless I genuinely believe it could help you. I would not risk our relationship over a tiny commission. Your trust and confidence are important to me. Copyright This document and visual presentation of this information, in this form, as well as select text, copy, and images are copyrighted by Evan Luzi from 2011 and into the future except where explicitly stated otherwise. Copyright 2011 - 2012, Evan Luzi of The Black and Blue. All rights reserved. Contact If you wish to discuss any of these issues, contact admin@theblackandblue.com or use the form at my website at http://www.theblackandblue.com/contact/ .

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Ab o u t Ev a n L u z i

ABout Evan Luzi Camera Assistant and Editor of The Black and Blue

The Black and Blue was founded and is run by Evan Luzi, a camera assistant with a passion for sharing his knowledge of filmmaking and camera assisting. Evan first got his start in the camera department as 2nd Assistant Camera on a low-budget feature film called “Ghosts Don’t Exist.” Since then he has worked on several features, short films, and commercials with some of the more advanced cameras in the field like the ARRI Alexa. Evan prefers to work fast, under pressure, and acknowledges that he wears a fanny pack for his job (though he maintains it serves a useful purpose). He is also your knowing guide and humble mentor throughout this eBook.

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Table o f Co n te n ts

Table of Contents C h a p te r 1 Introduction ................................................ 05 C h a p te r 2 the Camera Department .......................... 09 C h a p te r 3 Film School Vs. No Film School ............ 24 C h a p te r 4 Seizing Opportunity .................................. 38 C h a p te r 5 The Job Search ............................................ 48 C h a p te r 6 Climbing the Ladder .................................. 61 C h a p te r 7 Copy, Credit, Meals ..................................... 83 C h a p te r 8 Resumes .......................................................... 95 C h a p te r 9 Proving Yourself ..................................... 113 C h a p te r 1 0 The Reel Deal ............................................. 126 theBLACKandBLUE.com

Chapte r 1 : In tr o d u c tion

INTRODUCTION

So you want to work in movies?

The inevitable question anybody starting out in film wants to know is how to get a job – their first job. The film industry seems to operate inside of a walled-garden: unwelcoming to those on the outside while bearing fruits of labor to those on the inside. And this mentality is intimidating when you’re first starting out. Let’s be honest: you have the faintest idea of how to end up on a film set and nobody is making it easy for you. You love movies, appreciate the art of film, and admire the people behind cinematic masterpieces, but you can’t seem to get inside of that walled-garden.

“You have the faintest idea of how to end up on a film set and nobody is making it easy.”

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becoming the reel deal how to launch your film career in the camera department

The standard job search sites and classified sections list very few, if any, film jobs. Your friends and family, while they support you, have the same perceptions of the industry as you with no unique viewpoint to share. And even though you studied film in school, they don’t teach you how to get a job, let alone freelance gigs. Plus, when you do manage to get a peek inside the mysterious filmmaking machine, everybody seems to be doing jobs you were never told about. Grips? Electricians? Best Boys? You have no clue what those vague job titles mean and what the work entails. You ask yourself, “Even if I got onto a set, what would I do?” You hear horror stories of production assistants being screamed at for coffee, yelled at by actors, and abused by crew, but you’re resigned to the fact that this will probably be what you do – at least for the first couple of movies. You realize the film industry isn’t a haven for job security. There’s a real chance you could go days, weeks, and even months without a paycheck. “How does anybody make a living doing this?” you can’t help but wonder. You soak up all the behind-the-scenes featurettes you can watch, absorbing the tiny details most don’t bother to remember, and notice one peculiar detail: almost everyone in charge of those Hollywood blockbusters is old.

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becoming the reel deal how to launch your film career in the camera department

That’s when you ask yourself, “How long will it take me to get to where they are?” And after you consider all of these fears, intimidations, anxieties, apprehensions, and dismay, it’s easy to turn away from ever trying to break into the film industry. So before we start, I have to make sure you’re passionate enough to move forward. Because if there is one thing that will absolutely guarantee you are not successful in this industry, it’s a lack of passion. Let me ask you these three questions…

“If there is one thing that will guarantee you aren’t successful, it’s a lack of passion”

1. Are you sure you want to make movies? 2. Are you committed to working hard for a long time? 3. Is filmmaking more than a hobby and destined to be your life? If you answered yes to all of those, you passed. If you said no, or were even a little hesitant, consider this: the film industry is one of the most grueling meat grinders of work ever. It’s tough. It’s taxing. It’s hard. It has kicked my ass to the point where I’ve become physically ill from it. The flipside is, with the right amount of passion, you will absolutely love it. There’s nothing like coming together with a group of people and collaborating on something extremely creative.

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becoming the reel deal how to launch your film career in the camera department

And when you see your credits on the silver screen, you can’t help but smile. If you’re reading this ebook, then I imagine that’s where you want to be. You want the satisfaction of making a movie. Well, I’m here to help you do that. But I don’t want to mislead you. There is no simple way into the film industry, let alone the camera department. There is no magic bullet that will help you shoot straight to the top. I don’t want to scare you off – you can be financially comfortable in this industry very early on – but you won’t get anywhere without hard work.

“There is no magic bullet that will help you shoot straight to the top.”

You will have to commit days, weeks, months, and maybe even years to get to a position where you wanted to be when you started. I can promise to help you get your foot in the door, but you have to promise me you’re willing to do what it takes to get there. So if I have your word on that, let’s get started...

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Chapte r 2 : Ca me r a Dept .

The Camera Department

Choosing the Job You Want

Most film sets are divided into several departments. Each department handles a specific set of duties assigned to various people who are led by certain key crew. The camera department is no different. At the bottom of the camera department you have a camera trainee or camera production assistant (PA). At the top you have the cinematographer or director of photography (DP). The DP is an enigmatic position on set. They are at once the boss of three departments – grip, electric, and camera – but tend to “belong” to the camera department since the camera is the source of all

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visuals and photography. Still, their attention is often heavily divided among the three groups of people they depend on. In my experience, they spend most of their time determining lighting setups with G&E (the nickname for the grips and the electricians). Because the DP has to manage several large groups of crew, the 1st assistant camera (AC) is actually the true head of the camera department. At least in a managerial and administrative sense. When it comes to creative issues, however, the DP is the only one in the camera department with the authority to make decisions. AC’s may suggest improvements, but there is no guarantee they will be taken seriously or be acted upon. In short, the DP is the creative head of the camera department while the 1st AC is the technical and administrative head of it. But the camera department goes deeper than just the cinematographer and their camera assistant. So let’s take a more in-depth look at each crew member. Please note that in various countries, this may vary slightly. Since I work within the American style of film production, it’s what I will describe to you below.

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becoming the reel deal how to launch your film career in the camera department

How the Camera Department is Organized Camera Production Assistant (PA) On larger productions, the camera department will often have a camera PA. This may very well be the position you take for the first time on a film set. It is the lowest job in the camera department and is pure entry-level. There are no skills expected of you and your responsibilities will be minor. The camera PA rarely has specified duties beyond picking up the rest of the jobs nobody else in the camera department wants to do. It is, however, different from a general set PA position because this person “belongs” to the camera department. That means, as a camera PA, you don’t take on any extra duties outside of the camera department. You stick to what the AC’s and DP request of you. This could be as innocuous as grabbing snacks or as serious as fetching equipment from a rental house. How involved you are as a camera PA depends largely on the crew you work for.

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becoming the reel deal how to launch your film career in the camera department

Film Loader / Data Loader The loader is the next step up from the camera PA, though if there is no camera PA on a shoot, the loader may be asked to perform some of their tasks. The loader’s main job is to load/unload camera magazines without damaging the exposed film inside of them. They also shoulder the extreme pressures and responsibilities that go along with that. If a magazine is flashed or a take ruined because the film was loaded wrong, it can cost a production thousands of dollars. Because of that risk, the position is taken very seriously even though it is right above entry-level. Stanley Kubrick once fired a loader for carrying a magazine upside down – he didn’t want to risk losing a reel’s worth of shots. In the growing realm of digital cinematography, the loader position has come to transform into a “data loader” or “digital loader.” Where the position fits within the department is the same, but with a wildly different skill set.

“Stanley Kubrick once fired a loader for carrying a magazine upside down.”

On a digital production, the loader is tasked with transferring, backing up, and vouching for the safe storage of footage. The job requires only a minimal understanding of computers and is usually taken by somebody with little experience that receives training on the job. While the skills of a digital loader are easier to obtain than that of a film loader, the

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fact that all of the footage is transferring through their hands remains unchanged. Digital Imaging Technician (D.I.T.) The digital imaging technician (D.I.T. or Dit) is like a loader, but with a far greater knowledge of computers and also a greater realm of responsibility. They use this knowledge to work in tandem with the cinematographer to settle on the best workflow and ingestion of digital footage designed to retain superior image quality. They also have a heavy hand in achieving the look of the footage settled on by the director and cinematographer. Because they know computers so well, DIT’s will often construct their own workstations to optimize the flow of data for the quickest, most reliable transfers. These can range from a professional laptop into a full blown portable cart worth over $10,000. With this increased knowledge and equipment comes the ability to dip their fingers into more pies. DIT’s oversee the entire “look” of a film shoot once the footage is ingested into the computer. Sometimes they will do one light color passes and are seen as a mediator between production and post-production. Increasingly the difference between a data loader and DIT is beginning to dwindle, at least in the eyes of productions. Since it is a relatively new position, the

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responsibilities differ depending on the shoot. As a general rule, if all you’re doing is backing up footage, you’re data loading. If more is expected from you and your computer, you’re treading into D.I.T. territory. 2nd Assistant Camera (2nd AC) The 2nd Assistant Camera is in a unique position on a camera crew. I have often said it is the best position in the camera department for two reasons: • They don’t have the responsibility of loading the film

“I have often said the 2nd AC is the best position in the camera department.”

• They don’t have the pressure of pulling focus Because of these exceptions, being a 2nd AC is one of the best gigs. Their main jobs include slating, marking actors, and generally being another set of hands for the 1st AC who can’t (and shouldn’t) leave the camera. Where other departments may have a best boy, the camera department has a 2nd AC. They take care of the minor responsibilities the 1st AC doesn’t have time for.

“

The Importance of the 2nd Camera Assistant

...the 1st Assistant depends upon the professional 2nd Assistant to organize, locate and prepare equipment for use. This especially holds true

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when moving around in remote (non-stage) locations where equipment changes are constantly being made. When the 1st does not have a trained 2nd Assistant, he or she invariably must leave the camera to get a calledfor piece of equipment or case. The 1st Assistant is usually busy doing what they must do for the specific shot or moving the camera from one place to another. They can mentally anticipate equipment needs for a few shots away, but unless they leave the set, often cannot implement these anticipations. The experienced professional 2nd Assistant will have the necessary equipment on set as or before the 1st Assistant asks for it. As described in the excerpt above, the 2nd AC works closely with the 1st AC to make the camera department run as efficiently as possible. On lower budget productions, the 2nd AC may also take the duties of a loader. Also, on certain productions, there will only be one camera assistant in which case they take care of the duties of both 2nd and 1st AC.

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becoming the reel deal how to launch your film career in the camera department

1st Assistant Camera (1st AC) The camera operator and the DP may think they’re the ones in charge of the camera department, but it is really the 1st Assistant Camera (1st AC). As 1st AC, you’re expected to make the most important logistical and technical decisions in the best interests of the camera department and the production. In short, the 1st AC is in charge of anything involving the camera that is technical or practical in nature.

“The DP may think they’re the ones in charge of the camera department, but it is really the 1st assistant camera.”

This includes working with the cinematographer to decide on a camera package during pre-production, the prepping of that package, and the operation of it on set. The 1st AC must keep track of all equipment at all times, make sure it is working properly, and return it to a rental house in acceptable condition. If the camera goes down, the 1st AC is tasked to fix it. Likewise, they’re tasked with making sure that happens as little as possible. In some cases, the superiority of the 1st AC will extend above the DP, especially in technical situations where the AC is more qualified to troubleshoot a camera issue. The 1st AC also has one of the biggest responsibilities on a set in pulling focus. Pulling focus is when you manually adjust the focus ring on a lens. By doing so,

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they directly impact the quality of the finished product. It is a skill that takes years to master and is as much an art as a science. From a managerial standpoint, the 1st AC has to be able to effectively dictate duties to the rest of the camera department. In doing so, they seek to make the department run as efficiently as possible with very few mistakes. If done right, the DP will hardly notice how much work has gone on around them. That’s because a good 1st AC will be able to accurately anticipate the DP’s needs as if reading their mind. They often work together as a strong team and so the DP 1st AC relationship is a crucial one. When the DP is getting ready to set up a shot, the 1st AC is in charge of setting up the camera, ensuring it has the proper lens, filters and film attached, and assist in operating the camera by pulling focus. I could go on and on about the responsibilities of the 1st AC, but there are too many intricacies. If you are interested in learning more, I suggest either Doug Hart’s The Camera Assistant or David Elkin’s The Camera Assistant’s Manual.

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becoming the reel deal how to launch your film career in the camera department

Camera Operator In many cases, the camera operator is also the director of photography, but on larger productions (such as multi-camera shoots), there will be a dedicated crew member for this. The camera operator’s level of independence from the DP varies depending on the working relationship between the two and the importance of the particular camera they are operating. For instance, the camera operator on a “C” camera (a third camera) will likely have more independence and thus less importance. This level of freedom from the DP directly correlates with the amount of responsibility they shoulder. I have been on sets where the camera operator chose their own shots, lenses, and filters. I have also been on sets where the DP set up each camera while the cam op was there only to actively operate during takes. For camera assistants, the camera operator is their superior directly underneath the DP. If you are the “B” camera 1st assistant, the “B” camera operator is who you listen to, help, and advise in the same way you would the DP.

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becoming the reel deal how to launch your film career in the camera department

For the purposes of this eBook, it is safe to lump the two positions together whenever I refer to one or the other. Director of Photography (DP) / Cinematographer The director of photography (DP) or cinematographer is in charge of the lighting, composition, and visual mood of the film. They are also a supervisor for three major departments on set: camera, grip, and electric. This is why the true “key” responsibilities fall unto the 1st AC in the camera department since the DP is often dealing with other departments. Their working styles differ greatly – some operate their own camera, others don’t – and so do their temperaments. DP’s have to maintain a strong, creative relationship with the director to help maintain and service their vision throughout the production. This relationship also differs on each set. Sometimes DP’s choose the lens, sometimes the director does. DP’s also have to maintain a strong relationship with their camera crew to ensure

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every shot is captured perfectly and will appear on screen as they planned.

How Setting a Goal Steers Your Career Now that you know what everybody does, it’s time to pick what you want to do. It’s important to have a goal if you want to be successful in this industry. It will guide you to get jobs, help others determine what directions to point you towards for further work, as well as focus the scope of your learning. It’s true you’ll rarely end up where you thought you would when you started, but it’s crucial you have a direction to continually push forward your efforts. Here’s three reasons why: 1. Goals Informs You What Opportunities Are Worth Pursuing If you dive into the film industry willing to do “whatever it takes,” you’ll find plenty of opportunities. There will be listings for makeup assistants, casting assistants, extras, production assistants, and a slew of other entry-level jobs.

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If you want to take any of those to get your foot in the door, that’s not a bad idea. What is a bad idea is to step onto set and have no idea what you want for the next job. You want to take your first job and leverage it into a second job, then a third job, and so on and so forth. If you don’t have a goal in mind of where you want to be, it’s going to be harder to do that. 2. Goals Force You to Develop Certain Relationships

“What is a bad idea is to step onto set and have no idea what you want for the next job.”

With a goal in mind, you can start to foster work relationships and build a rapport with crew – otherwise known as “networking.” Yes, networking: that hairy word nobody likes to use because it sounds so corporate, so 1950’s business, so.. lame. Well, yeah, it sounds lame, but it’s extremely important in the first steps of your career as we’ll discuss later on. If your goal is to be a camera assistant, then you’ll want to start talking with AC’s and ask them about equipment, gear, and what skills to acquire. Or, if they’re adverse to that, you simply start building a friendship with them. Goals will point you not only towards what you want to be, but towards whom will help you become that.

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becoming the reel deal how to launch your film career in the camera department

3. Goals Help Focus Your Learning Perhaps most importantly, goals help you hone your skills. The film industry is made up of highly skilled specialists we simply call “crew,” but when you drill into it, these people are really good at a super specific job. Think of the boom operator: boom operating is an impractical skill anywhere else, and yet, boom ops can make great money if they do it well. By choosing what you want to do, you can start to whittle away at your raw talent and hone it into a specialization. By the time you’re getting calls for AC work, you’ll be a full fledged AC. You don’t want to be someone who knows a little bit of everything, but not enough of something. If you know you want to be in the camera department as a camera assistant, then you know who to talk to during downtime on set.

“You don’t want to be someone who knows a little bit of everything, but not enough of something.”

If you want to be a DP, you know who to watch during setups. If you want to be a DIT, you can offer to help them move their computer equipment.

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Knowing what you want to do gives you a good reason to go out there and figure out how to do it. It helps you pick up the right manuals, read the right websites, talk to the right people, listen to the right podcasts, and generally absorb anything and everything that will teach you something. Your passion will drive you, but your goal will steer you.

Where Do You Fit in the Camera Department? Did you take a long hard look at that list above and determine what job you really want to do? Good. Now be prepared to start lower than the job you picked you want to do. You didn’t have to pick a job because that’s what you’ll instantly start doing, but because you want to know where you’re going. Don’t assume everybody knows what you want to do. If nobody knows what you want to do, how are they going to help you achieve it?

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Chapte r 3 : F ilm S c h o ol

Film school Vs. No Film School

The Pros and Cons of a Film Degree

Over the years, the debate has raged on about whether or not you have to go to film school to have a career as a filmmaker. Let me state the answer up front: You don’t have to go to film school to have a career in film. But that still doesn’t answer a more complicated question: Should you go to film school in order to start a career in film? It’s one I’ve been asked numerous times and I still have no right answer. The unsatisfying truth is it depends. It depends on your financial situation, your motivations, your goals, and what value you perceive film school to have. I often tell people who ask me this question that I can only provide certain points,

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but ultimately it’s their decision. You can start a career with or without a film degree and with or without any degree, really. But does film school put you in a better position than no degree? Or is it better to skip film school and dive right into the industry? It’s tough to say. So let’s look at some of the pros and cons of each approach:

Going to Film School Pros Networking The greatest opportunity film school will offer you is networking. You will meet others similar in age and career stature that are interested in exactly the same thing you are: filmmaking. This means further down the line in your career you will have people and friends to call favors on, collaborators you trust, and colleagues who can put you in touch with others.

“You will meet others that are interested in exactly the same thing you are: filmmaking”

Experience with Equipment Before digital cinematography, access to film equipment was a huge draw for film schools. Where else would you get to mess around with a 35mm film camera?

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Digital cinematography has made access to higher-end visuals easier, but there are still professional tools that are financially inaccessible to most of us. Where else do you get to mess around with a RED One or an ARRI Alexa without getting a job? Film schools, especially the top notch ones, will have access to real, professional equipment. As a student, you will be able to use it. Not only will this increase the production value of your projects, but it gives you practical experience with the kind of equipment you’d find on a true film set. Commitment to Learning and a Degree My father who is an author once told me that my film degree was a lot like his writing degree: it didn’t mean anything on the surface, but it did show a certain level of commitment. That’s something I’ve always remembered. While my degree hasn’t actively qualified me for any particular job, it does prove

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that I was willing to finish a program over the course of many years. And with a degree, if filmmaking never works out, you’ll at least have a formal acknowledgement of your education to open doors in other fields. The Ability to Create Before I graduated from college, I sat down with my film professor at Virginia Tech, Paul Harrill. During this meeting, he asked if I was going to go to graduate school for film. At the time, I was unsure. So I asked for his opinion. Paul had gone the film school route and ended up winning the jury prize for a short film at Sundance, so his opinion was of great interest to me even though I thought for sure he would push me towards school. Instead he reasonably laid out the debate with considered thought. But one thing he pointed out to me was particularly revelatory. He said: “If there’s one thing that film school gave me that I wouldn’t have been able to do anywhere else, it’s that two to three year period for me to just… create. I didn’t have a job, I only had films to make.”

“If there’s one thing film school gave me, it’s that two to three year period to just ... create.”

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Going to Film School Cons Lost Time Film school takes time – time that could be spent pursuing your career instead of studying to then pursue a career. Financial Debt Schooling isn’t cheap these days. Unless you’re already rich, get an insane amount of scholarships, or have a family that is willing to support you, you will find yourself with a heavy debt upon graduation. Also consider the fact that many student films are self-funded (i.e. not by the school) and that you will have to incur that debt as well. A “Useless” Degree

“Many student films are selffunded and you will have to incur that debt.”

Many view film degrees as useless because there is no real practical application for them and because you don’t really need one to get a job in the industry. While the foundation of this particular point is debatable, it is true that a film degree does not pre-qualify you for any job in the same way that an engineering or computer science degree does.

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A Warped View of Production Film school students, whether they know it or not, often have a warped view of production environments. Their sets are less structured and, as a result, less professional. Film school sets can give you a false impression of what production on a real film is like. There are student films I’ve worked on that were very professional, but most of that atmosphere was brought by crew with real world experience. Of course, the film school you choose will have a large impact on the truth in this. A Feeling of Entitlement A film degree and a film school education may give you a false sense of entitlement. That is, you will feel somebody owes you a job since you went to school, worked hard, and earned a degree for it. Sorry, it doesn’t work that way. Nor do the most talented always get the job. If you go to film school, shoot some films, and expect to step on set no problem, you may be disappointed when you leave. Even worse, you may feel angry and frustrated because nobody is giving you the work you know you deserve. This attitude will end up costing you gigs and you’ll be back where you started.

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Not Going to Film School Pros You Get to Jump Right In Without film school taking up your time, you get to enter the industry head on. There are no classes to take, no finals to study for, only films to work on. Film Production is Your Film School I hear it time and time again from those I work with that they didn’t learn anything in film school and got all their knowledge from set. In my own experience, this is true. I walked onto the set of “Ghosts Don’t Exist” thinking I was fairly prepared for the production process and I couldn’t have been more wrong. When you dive head first into the industry, you will learn the same things and often at a faster pace. What you’ll lack in formal training over the years you’ll make up for in practical experience.

“When you dive head first into the industry, you will often learn at a faster pace”

Fewer Financial Obligations When you’re in film school, you (may) have student loans, bills, and rent to pay. Without film school, you eliminate at least one of those. You also won’t be funding

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your own student films unless it’s purely as a hobby. You Start to Make Money Right Away Student films rarely pay anybody money, especially if you’re working on a classmates project. Real productions, however, will definitely pay you money. After the few first gigs, you may be able to start generating an income. And without classes taking up your schedule, you can make more money right away. Real Movies Get Made Student films are great, ambitious projects with admirable themes. And most of them never see the light of day (Vimeo doesn’t count!) If you’re working on real films, however, you may find yourself on projects that do see the light of day (or the darkness of a theater) which provides a greater amount of job satisfaction.

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Not Going to Film School Cons You Might Not Know Anyone The flip side to pre-baked networking in film school is not having anyone to network with outside of that collegiate community. Film offices, production meet ups, and local communities can only take you so far. Most of the crew actively working in the industry stay busy working and can’t always make it out to events like that. The scary part is that a lot of landing a gig depends on the people you know, so getting your foot in the door without a starting contact will be tough. No Direction to Go Film school students have the advantage of career centers that can put them in touch with a vast alumni network and point them in the right direction. You won’t have that kind of resource at your disposal and may find yourself lost as a result.

“A lot of landing a gig depends on the people you know, so getting your foot in the door without a contact will be tough.”

Little to No Knowledge Base Without classes to attend, how will you learn? Your knowledge base will certainly grow when you get on set, but what about before hand? You may be limited by

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your access to equipment, resources, jobs, and mentors. Limited Experience with Pro Equipment Continuing from above, your experience with equipment will be limited unless you’re super rich and play around with the coolest toys. Having experience with certain types of rigs, cameras, and gear will make you more attractive to those hiring, especially within the camera department. How will you get that experience without access to the equipment? No “Calling Card”

“Your time with equipment will be limited unless you’re super rich and play around with the coolest toys.”

If you’re trying to DP or camera operate or direct, film schools will help you build your reel – the calling card of the professional filmmaker. Without the resources of a film school, it’s tough to build a reel that looks professional and will help you get more gigs.

Different Strokes for Different Jobs Remember before when I asked you to decide where you wanted to end up in terms of your career?

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Film school could have a profound impact on accelerating those aspirations, depending on what you choose to be. From my experience, film school is most useful to those who have end goals of being a cinematographer or a director. That’s because film schools often emphasize the importance of these key crew positions while minimizing the other crew as filler. There aren’t any masters programs in camera assisting or gripping. Most film schools fully adopt the auteur theory of filmmaking. That’s why if you want to get into a lower, below-the-line job on a crew, you wouldn’t benefit as much from film school. But if you are going for the more creative, higher-up positions, the benefit of film school increases greatly.

What About The Film School Pedigree? There may be times where you look at certain filmmakers you admire and see they went to film school. In your mind, this may strengthen the case. After all, part of their success must be derived from their education?

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On the other hand, some filmmakers like Robert Rodriguez (who wrote Rebel Without a Crew) popularized the notion that formal film education is frivolous and unnecessary – that ambition is what leads to great films, not a degree. So as a matter of comparison, let’s take a look at some well-known, talented filmmakers who did and didn’t go to film school. Filmmakers Who Went to Film School: • Steven Spielberg • George Lucas • Robert Zemeckis • Martin Scorsese • Francis Ford Coppola • M. Night Shyamalan • Oliver Stone • Morgan Spurlock • Judd Apatow • Caleb Deschanel • Ron Howard

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Filmmakers Who Did Not Go to Film School: • Robert Rodriguez • Quentin Tarantino • Stanley Kubrick • Paul Thomas Anderson • Spike Jonze • Steven Soderbergh • James Cameron • Alfred Hitchcock As you can see, the talent on both sides of the debate is deep. This only strengthens the fact that there is no right way, no guaranteed approach. What worked for Scorsese didn’t work for Rodriguez, yet they both enjoy a certain level of success in Hollywood. Don’t get caught up following in the footsteps of another filmmaker. While you may admire them, your pathway into the industry is likely to be completely different. There are just too many factors to replicate their success exactly. Instead, rest easy knowing that you have the ability to make it to the top regardless of whether you go to film school or not. The list of names above proves that.

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becoming the reel deal how to launch your film career in the camera department

Making Your Decision Deciding between going to film school or diving into the industry is tough. You have to consider all the points above very carefully when deciding. Talk to friends and family about what they think would be best. It will, directly or indirectly, definitely affect your path through the industry. This may be good or it may be bad. Only time will tell and often after it’s too late to do anything about it. I would tell you my opinion, but I don’t think it would do any good. I don’t know what the industry is like in Australia or in Italy or in Kansas.

“Your choice about going to film school will, directly or indirectly, definitely affect your path through the industry.”

Talk to those working within the area you’re likely to venture into and they can provide you with better advice and you’ll get a much more realistic perspective. I will, however, leave you with a quote from screenwriter Marc Moss who once told me, “If everyone grows up in the suburbs, then they go to high school, then they go to film school, what unique experiences do they have to tell? Where are their stories?”

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C hapter 4 : Op p o r tu n iti es

Seizing Opportunity Getting Your Foot in the Door

I am going to assume that if you’re reading this eBook, you want to know how to land your first job (or second or third). It’s both easier and harder than you think at the same time. The best advice I have for you is not to let opportunities pass you by. The way I got my foot in the door was by randomly emailing the CEO of a production company. A couple months later, I found myself on a feature film as the 2nd Assistant Camera.

“The best advice I have for you is not to let opportunities pass you by.”

I took a risk and in return received an opportunity too good to turn down. The name of that film was “Ghosts Don’t Exist” and it was produced by Washington

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Redskin Chris Cooley. I’m not trying to name drop here – Cooley was the entire reason I got the job! I first heard of “Ghosts Don’t Exist” by reading Chris Cooley’s blog, The Cooley Zone. One day he published a post about an independent film he was executive producing that had just been greenlit. As I read further, I saw it was being made in Leesburg, VA, a 30 minute drive away from me. The production company, 19th and Wilson, was also listed on his post. At this point, I thought it was time to take a shot in the dark. After researching 19th and Wilson, I sent an email through their website’s general contact form offering to take any job – any job – with low to no pay, as long as I got to be on the movie’s set.

“At this point, I thought it was time to take a shot in the dark.”

Soon thereafter, Aaron Goodmiller, the CEO, responded thanking me for my interest and asked for my resume to send on to the Unit Production Manager. After a few weeks of limbo and talking on the phone to Gavin Peretti, the first assistant director, I was put in the camera department as a production assistant. Eventually “Camera PA” turned into “2nd AC,” and the rest, as they say, is history.

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becoming the reel deal how to launch your film career in the camera department

That’s Chris Cooley, myself, my brother, and the director on the right at the wrap party. So why do you care? My point is this: you never know which doors will open. Ever since eighth grade, I’ve known that I wanted to be a filmmaker, but never in my wildest dreams did I imagine I’d land my first job through the website of a professional football player. And that’s what’s important to take away from this. Every opportunity is worth pursuing, even if you don’t end up taking action on it. If I had chosen to simply read the post and continue searching for gigs on more traditional outlets like Craigslist, I wouldn’t be here writing this eBook. I shoved my foot in the door and took a chance. Don’t be afraid to take chances to get your start. It’s scary, yes. It’s intimidating, yes. But if you’re not willing to risk a little bit of your ego to get a job in this industry,

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then you wouldn’t make it very far anyway. Don’t rule out anything.

Why Your 1st Job is Important Like I said above, you never know which doors will open. And if you seize those opportunities, you may find yourself walking through those doors onto a set. So now what? It’s not over yet. Remember, you aren’t just trying to get your 1st job in the camera department, but your start. A runner doesn’t take the first step of a race and then slow down – they speed up. You need to prove to everyone on the set that you are passionate, hard working, and willing to kick some ass for your job. Why?

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Because they all had to do the same thing and they want to know if you’re up for the challenge. Your job may not be glamorous. You may be a PA. But it doesn’t matter. Treat the tiniest duties as a professional and you will be treated like one. Reality is perception and if you give off the perception that you’re a pro, then people will begin to treat you like one.

“Treat the tiniest duties as a pro and you will be treated like one.”

Since you don’t have much experience, most of your training will happen on the job. So instead of bringing a skill set to your first gig, you need to bring the right attitude. Here are some things to keep in mind: • Don’t complain • Seriously, don’t ever complain. • Work hard, really hard. Harder than the rest of the crew. • Be willing to take on any task. • If you aren’t sure, ask questions, but remember the answers. • Go beyond your initial duties, be a kind person. I’m going to tell you a secret not many of my peers in the film industry would care

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to admit: Expectations for a newbie on a film set are low. Very low. Surprisingly low. When you finally land that first gig, don’t blow it by being a lazy, complaining greenhorn. Shove your foot in the door willing to bust your ass as hard as possible. You only have to work this much harder than the other newbies a veteran crew has worked with to impress them. Your ceiling is already a low one, so take the chance to blast right through it.

Why Your 2nd Job is More Important

“You only have to work this much harder than the other newbies a crew has worked with to impress them.”

Getting your first job is huge. It’s shoving your foot through the door and blazing onto the freelance scene. When you do that, you catch the attention of the room and you better have the goods to deliver. And while your first job is indeed important, it’s really your 2nd job that you should be more worried about. The results of your first job will be directly represented by your ability to get another. In an industry heavy on networking and connections, making an impact on your first job is everything.

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One of the reasons getting your second job is bigger than your first is because it shows you impressed somebody and that you’ve got the chops to make it. Maybe it was the director of photography who saw you bust your butt, or maybe it was the first assistant director who thought you handled set etiquette better than any other PA. Either way, keep in mind that crew are always watching and they want to surround themselves with hard workers. Crew members tend to recommend other crew because when films require strong teamwork, they want to be with the best. I personally keep tabs on all the people I work with to perhaps work for me in the future or recommend them to others. But you won’t always be recommended for your 2nd job – it may be your 3rd or 5th gig by the time you get called because so and so commended your work ethic. That’s OK. Your second job will still be important. It shows that nobody said anything bad about you, for one, and that your lone

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credit or experience was enough to warrant somebody hiring you again. That 2nd time you step on set is big because it gets the ball rolling and once that ball is rolling, there’s nothing and nobody but yourself to stop it.

The Importance of Networking and Meeting People Want to know the true secret sauce to seizing opportunities and getting work in film? Networking and meeting people. Disappointed? I knew you would be. I was too, trust me. We always want an easier way, a simpler way, and a fresh way to approach things, but sometimes it’s not possible. The truth is that most of the jobs you get in this industry will come from knowing and impressing other crew members. Most often they will be the ones in the camera department, but sometimes they come from other crew as well. This is a side-effect of the trickle-down method of hiring. The “trickle-down”

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method starts when the producer hires the director. The director will then hire their department heads. Those department heads then hire their preferred crew and so on and so forth. As a result, networking is highly important. While there is generally one person who makes the final hiring decisions, a recommendation from another crew member all but seals the deal for you. Let’s say you’re the producer. If your chosen DP works great with a particular AC, why would you want to harm your production with an unproven work relationship? It could slow down the set, result in more takes, and cost you money. It’s much easier to hire the person who is already trusted. That’s why you have to make networking with crews a top priority when you are in entry-level positions. You never know when they will decide to call you out of the bullpen to work for them. Of course, all of this sounds very intimidating. But it doesn’t have to be. Networking is nothing more than becoming friends with people who will eventually get you work.

“Networking is nothing more than becoming friends with people who will eventually get you work.”

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When you start out in this industry, you’ll be surprised at the strong friendships you form. Not only is this good for networking, but you will eventually find yourself turning to these people for advice, for conversation, and for companionship. What can start as a work relationship can transform into a solid friendship over time. After awhile, you no longer “talk shop,” you talk about each others’ lives. People are one of the best reasons to stick around in the film industry. A good friend on set has the potential to become a good friend forever. You will have many unique opportunities to befriend many people over the course of a career, even in the beginning. If you tend to these relationships with care, you will reap many rewards including work, but most importantly, friendship.

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Ch a p te r 5: The Job Search

the job search

7 Places to Look for Film Crew Gigs

Waiting for a great film production job to come to you is silly and a waste of time. You’ll be waiting for awhile before anything shows up – if anything does. But herein lies the problem: looking for a great film production job may also force you to wait awhile before anything shows up – if anything does. It’s not easy. It never was and it never will be. There’s a reason people refer to “the big break” in show business. It drops down to the little guys below the line as well. Yet, there is hope. If you start looking for jobs – building connections, expanding

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the scope of your search, learning about the industry – you begin to get closer and closer to landing one. All it takes is a bit of luck, a load of perseverance, and a few places to start:

1. Rental Houses Rental houses are a great place to start for those who want a gig in the camera department. For one, they provide a true immersion into the equipment camera assistants deal with and troubleshoot every day on set. Two, they provide great points of contact with other camera crew in your area. The rental house route is a good one to take if you can get a decent wage and good hours. You will learn the equipment necessary to be an astute camera assistant and you will be able to meet those who may hire you in the future. Another perk of working at a rental house is being able to utilize “preferred rates,” where you get a discount on equipment rentals. This can tip the scales on a production hiring you instead of somebody else.

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If you do land a gig at a rental house, consider that you may not be able to take freelance jobs as often as you’d like. Oftentimes, rental houses will place their employees on contract so that they can’t quit as soon as a feature film or other extended project comes along. That’s the trade-off for what is otherwise an excellent first step.

2. Production Companies Production companies are another good training ground. They provide access to equipment, either in-house or rented, and will often train those within their company to take higher positions. The amount of local production companies near you may surprise you. Some of them don’t advertise because they already have large amounts of work coming in. If you can’t find a point of contact through a website or listing, consider visiting their offices. You don’t have to do anything more than ask to speak to someone about potentially working there and leave a resume with whomever you talk to. They may call you, or they may not.

“The amount of production companies near you may surprise you. Some don’t advertise because they have a lot of work already.”

But remember, you shouldn’t pass up opportunities. If you can, seek out production companies that take on the kind of work you would

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like to do. If you want to enter the commercial world (lots of money), then look for those types of production companies or ad agencies. If you want to do television or broadcast work, seek out the companies that the networks or local news stations work with. It’ll be tough to find a production company that does solely feature length or short films, as these companies usually hire a freelance crew, but you may be able to find one around that does more creative work in conjuction with contracted work.

3. Studios Getting a job at a studio used to be the go-to method for making it in the film industry, specifically in Hollywood where most of the studios reside. For the most part, that practice is dead. Don’t get me wrong, people do still enter the industry through studio or studio contacts, but the film industry has been blown wide open since bagging a mail room job at Warner Brothers was the preferred method. If you’re still undeterred, however, the major studios

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and their mini-studios include: • Warner Brothers • Fox • MGM • Universal • Paramount • Sony Pictures Entertainment • Dreamworks • Lionsgate • Summit • And more... Their production-based job offerings are not going to be as set-focused as you want since freelancers are their main employees on feature films, but if getting any kind of “in” is your goal, there are plenty of internships worth checking out. Just be warned: despite the broadening of entry ways into the industry, studio jobs are as competitive as ever. Part of the reason for that is an influx of film school graduates and self-trained filmmakers who turn to the studios as the megalithic representations of Hollywood.

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The other reason is our tough economy. A studio job is a good deal because it’s a guaranteed job and is a film job. That’s a combination that’s hard to come by and highly sought out.

4. Local Productions Productions travel around the world shooting all sorts of movies, TV shows, commercials, web series, and so on. They come in for days, weeks, or sometimes even months to shoot whatever footage it is they need. You have to cash in on this. If you’re in or near a big city – especially one not normally known for film production – it’s easier to do. You can find out if a production is coming into town usually by talking to local or regional film offices, scouring newspapers and local TV news, or keeping a trained eye on crewing agencies and websites like Craigslist. Especially since you’re a local, you’ll be much more enticing to a production to hire since you won’t cost them any lodging or travel fees. Productions also like to look good to cities by hiring local. It keeps them on good

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terms with the city and in the running for any incentives they were hoping to receive. And for you, working on a local production means you get to live your dream while living at home, which is more comfortable, less expensive, and the most ideal situation possible.

5. Film Offices and Career Centers Most forms of government, especially in the United States, have localized film offices who encourage and mediate film/TV production in their region. Film offices are some of the best resources you can seek out. They are set up to facilitate and encourage filmmaking in their area, so it is in their best interest to keep qualified crew employed and living there.

“Film offices are some of the best resources you can seek out.”

One of the biggest concerns major productions have about filming on location is available resources. “Are there enough qualified crew local to the area?” is a legitimate question – one film offices would love to say “Yes!” to. And because they work so hard to bring productions into their area, it trickles down in the form of more jobs for you.

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In some cases, film offices will run crewing services. For instance, the film office of Virginia (my home state) has an online listing of casting calls, crew calls, and other industry events happening in the state. This is a service provided for free by the Virginia Film Office and it benefits productions, crew, and actors. They also pay to publish an annual “Virginia Production Directory” which lists crew by position with their contact information and experience. Another way film offices help is with internships. Before I landed my first gig as 2nd AC on “Ghosts Don’t Exist,” I tried to intern within the Virginia Film Office. While I didn’t get the job, a friend did and it opened many doors for her. Often when a production came through the state, the film office would send her out as a PA. As a result, she worked on a couple movies, commercials, and a few TV shows over the course of a 6-month internship. She met many people on those shoots that eventually called her for freelance work.

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Depending on where you live, you may not have access to a film office, but there could be alternatives like career centers. Many schools, especially colleges and universities, have a staff that will attempt to help you land a job. This is where film school could pay off since their career centers will have experience connecting students to jobs in the film industry Most career centers won’t, however, since it’s a niche market. Still, it’s worth an attempt.

6. Online Directories/Websites/Trade Magazines Searching for jobs online is nothing new. With the rise of the Internet, so came the anonymous job search: toiling away at a keyboard stalking the listings on Careerbuilder, Monster.com and Craigslist. Unfortunately for film production, it’s not that straightforward. Traditional job search sites still don’t “get” freelancers because the market is murky, the qualifications undefined, and because word of mouth recommendation is preferred.

“Traditional job search sites still don’t ‘get’ freelancers.”

I’ve tried using traditional sites like Careerbuilder and got nowhere. I’m telling you now: it’s a waste of time. If you’re looking for a corporate media job, it’s fine, but for

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true-blue film productions, they’re useless. Instead, focus on film oriented job sites like Production Hub, Mandy, or the Craigslist “crew” section (which, yes, does have paying gigs time-to-time). Usually these jobs are entry-level for set work which is perfect for you. However, these sites still aren’t perfect since freelancing is so heavily based on word-of-mouth networking. But they do crop up a job occasionally. Just be prepared to be a little disappointed at the frequency at which jobs are made available. The same goes for any online directories or trade magazines which may operate a crewing system. They are worth looking into, but hardly guarantee work.

7. Friends and Family I know what you’re thinking: “My family has no clue how the film industry works...” Probably true. “...and even if they did, they wouldn’t be able to find anything I can’t already.” Definitely not true.

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Before you roll your eyes and groan at this one, don’t underestimate friends and family. Why? Because they have connections too. I have received many phone numbers over my freelancing career from family friends who know people working in some aspect of the film industry. Not all of them panned out, but a few of them did. One connection in particular completely blind sided me. A good friend from high school called one day to tell me about his former college roommate who had dropped out and wanted to direct a feature film. Immediately I was skeptical. After all, who doesn’t want to direct? And how many can actually do it? Where would he get the money? Then my friend mentioned how he had sold a few scripts to Warner Brothers for about $50,000 each.

“After all, who doesn’t want to direct? And how many can actually do it?”

Now I was listening. After talking to my friend, I received a phone call from his former roommate and we ended up talking for a few hours about our views on film, how we perceive story, and our experiences with film production.

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Less than a year later, I found myself shooting with the ARRI Alexa as 1st Assistant Camera while that guy directed. I understand why I was skeptical at the time, but it was a valuable lesson to learn: opportunities come from the oddest places – including friends and family. You shouldn’t be afraid of acting on connections they offer you just because your friends or family seem naive. It’s true, they probably are, but if their connections aren’t, then you could find yourself with your first film job in no time.

Give Yourself a Chance to Say “Yes” When I first started in film, I was slapped quickly across the face with the realization that finding film production jobs is completely different from any other type of job search. The availability and frequency of them just isn’t the same as most other jobs. The difficulties are compounded by the fact that most film crews staff themselves from the top down. The DP hires their 1st AC, the 1st AC hires the 2nd AC, and the 2nd AC makes recommendations for the camera PA. If

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all of those people in the line have someone they like to work with, the opportunity never ends up in a public channel for you to take advantage of. That’s why if a job does pop up in the open with the opportunity to send a resume or talk to somebody, you should jump at it. Trust me, nothing is worse than waffling on a job listing and then waiting another month for a similar one to pop up. If the job isn’t right after you’ve applied for it, you can always say no if offered. You can never say “yes” otherwise. So give yourself that chance.

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C hapt e r 6 : Climb in g U p

Climbing the Ladder Hardwork, Rejections, and Mistakes

When you hear about working through the industry, you mostly hear about paying dues and “climbing up the ladder.” This is the same metaphorical ladder that every person hangs onto the rungs of, no matter their career. Some climb all the way to the top, like Steven Spielberg. Some climb a few steps and are content to stop there. Others fall off completely. But the problem with the ladder approach is that it implies that the only career growth you can make is vertical. Instead, let’s talk about another business cliche: wearing multiple hats.

“Some climb all the way to the top, like Spielberg. Some climb a few steps and stop. Others fall off completely.”

There are plenty of people I know who manage to get gigs as a camera assistant,

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grip, and electrician. Since they have the ability to wear multiple hats, they have more opportunities to get work. When the well for one of their jobs starts to run dry, they simply dip into another and start from there. You can benefit from the same arrangement. From the beginning of your career, you should start thinking about growing in the film industry horizontally (adding more hats) as well as vertically (climbing that ladder). Many of the basic skills, etiquette, and training you gain from on set experience is transferable to new departments. As your experience and knowledge begins to build, you can start venturing into other departments on set. I’m not saying you should sustain a career based on horizontal movement, but it can help, especially when you’re first starting out. As you get more work, you begin to narrow those choices and eventually find yourself in a job you both enjoy and get offered consistent work for.

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If you can find at least one more job, however, that you enjoy doing, that you’re good at, and that others will hire you for – it means more opportunity for money in the bank. For example, I have a friend who is a very, very good grip, but he is also a talented gaffer. In reality though, he makes his money doing motion graphics. The opportunities for you to take advantage of already established skills are there, you just have to be willing to seize them. You won’t be a master of your new job immediately and it might involve going out of your comfort zone at first, but it will open a whole slew of extra possibilities for work in the future. When the rungs of the ladder get tough to climb, it is simple to toss another hat on your head and venture forward. Don’t be content with just one hat on the rack if there are five spokes for you to place it.

5 Mistakes that Hurt Your Chance for a Job More than anyone else, you have the undesirable urge to step on set and wow the crew with your skills. And wowed they will be because you know you’re passionate and ready to learn.

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You do all the right things: you network, you learn the techniques, and you soak up anything and everything about filmmaking – including this eBook. But the phone doesn’t ring. And you’re left wondering why nobody is calling you up to offer you a job. Well, it may be their fault, but it may also be yours. If you make any of the 5 mistakes below, you could be hurting your chances to land that perfect gig. 1. You don’t return phone calls quickly Sometimes you’re busy, in the shower, or even working when you get a phone call about a job. It’s not imperative for you to answer every phone call instantly, but returning the call in a timely manner is. I was sitting next to a producer once as he called people to staff his crew for a shoot the next day. If somebody didn’t answer their phone, he went down to the next name on his list. Even if you’ve been recommended for a job, you’re one of many names on a list. If you don’t get back to whoever called before the next person does, you’re out of luck and out of work.

“Even if you’ve been recommended for a job, you’re one of many names on a list.” theBLACKandBLUE.com

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2. Your day rate is too high When you first start out, you may work for free or whatever they’re willing to pay you (more on this later). Eventually, after a few jobs, you get asked what your day rate is and you don’t really have an answer. The conundrum then is to come up with some number you think you’re worth, but without going so high you miss out on the opportunity. To avoid this trap, I always ask what the budget of the film is before giving a rate. That way I prompt the producer to divulge any info they might have about what they expect to offer. If the producer doesn’t respond with what they can realistically pay me, I follow-up with something like this: In terms of day rate, I realize you are stretching the budget so I want to be fair. My rate is normally $xxx.xx, but I am more than willing to negotiate on that so it fits within your budget and I can be a part of your project. This quick note does three things: 1. It shows I am interested in the project beyond money.

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2. It establishes what I normally make, setting a baseline for negotiations and also showing I am professional enough to set a value on my work. 3. It mentions being fair and negotiating, implying a two-way conversation. I’m not saying you have to charge peanuts, but be willing to negotiate your rate. If you’re non-union, but charging union rates, that’s not a good start. If you’ve only got two jobs under your belt, but ask for a day rate that’s higher than the Key Grip, you need to come back to Earth. Some productions will have a big enough budget to pay you what you want with no questions asked. Many will not, however, and you should build in some wiggle room to your day rate. 3. You’re practically invisible online

“If you’ve only got two jobs under your belt, but ask for a day rate higher than the Key Grip, you need to come back to Earth.”

When I get a job and a crew contact list, one of the first things I do is start checking out the people I’m working with. The easiest way to do this is to Google their name and look them up on the Internet Movie Database (IMDB). Most of the time, I get a sense of the projects they’ve worked on, but every now and then, someone comes up blank.

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And I’m not the only one who does this. Producers and production coordinators do it too. They want to get an idea of who they’re contacting before they reach out to them. When a name comes up with zero search results, it doesn’t help your case. If you don’t have any sort of presence online, you may be missing opportunities that are never even extended out to you. Blogs, portfolio sites, IMDB listings, and profiles at places like Production Hub can all put a face to a name. We’ll cover this topic more thoroughly in Chapter 9. 4. You don’t write cover letters (or you do and they suck) Why spend so much time crafting the perfect resume only to bomb it by sending it without a cover letter? Resumes by themselves only tell half the story. A good resume will explain what you do and how much you know, but it won’t say why you do it and who you are. Don’t pass up the opportunity to connect with a potential contact on a personal level. Most of the time you only need to send a simple note describing who you

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are, why you want the gig, and why you’d be a good fit. If you are sending out cover letters, but see no results, consider re-working it. After a few jobs in a row where I got no response from my resume, I went back and completely rewrote what I had to say in my cover letter. The difference was a drastic increase in the amount of response I got. My change? I stopped writing what I thought people wanted to hear and instead wrote what I wanted to say – a crucial difference. 5. You aren’t willing to be flexible The beauty of freelancing is your schedule is flexible. The ugly part of freelancing is your schedule is flexible and others know it.

“I stopped writing what I thought people wanted to hear and instead wrote what I wanted to say.”

Because of this, you have to be willing to grab jobs as they come, sometimes the night before or even on the same day. I once got a phone call for a job the day before it was supposed to happen and had to turn it down because I was halfway across the state (It was a bummer, I heard the paycheck was pretty hefty). Most jobs won’t be last-minute, but there are several opportunities to fill gaps in

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your work schedule with short-term gigs on little notice. Don’t become too set with plans, especially for unimportant events like Happy Hour drinks at the bar. It’s OK to turn down a job every now and then because you have a personal event, but if you make a habit out of it, you’ll stop getting phone calls completely. The Good News and the Bad News The bad news is these mistakes may have already cost you a gig or two. The good news is you can fix them all right now. These are simple mistakes that are easy to repair with a change in mentality or a bit of work at the computer. Put in the time to correct these mistakes now and you’ll be in a position to find yourself on more sets.

The Steven Spielberg Three Step Guide to Rejection Back when I was looking into film schools, I was lucky enough to get a private tour of the University of Southern California’s School of Cinematic Arts. It was incredible. The complex for the school’s film program is huge and is largely because of

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donations from a growing stable of well-known USC alumni donors. Included are thoroughbreds Robert Zemeckis, George Lucas, and Steven Spielberg. In fact, Spielberg loves USC so much, that at the time I was visiting, he was attached to a class in which students studied all his films and ended the semester hosting a Q&A session with the filmmaker himself. But it wasn’t always like that. How Steven Spielberg was Rejected The tour guide recounted a story to me about Spielberg’s history with USC that I’m going to share with you today. It turns out that the first time Spielberg applied, he got rejected because an admissions officer deemed his C-level grade point average too low. He tried again and got rejected again. This is Steven Spielberg we’re talking about – the most notable filmmaker of the new Hollywood generation!

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Even after a third and final attempt, Spielberg was denied admission. Seeking his education elsewhere and applying himself full force into the industry, the man went on to direct Jaws, E.T.: The Extra Terrestrial, the Indiana Jones series, and a host of other critical and commercial successes. Spielberg is now worth over $1 billion to his production company Dreamworks. So how did Spielberg take the rejections he faced from USC and turn them into a blockbuster career? Easy. He wasn’t lazy, he had a good attitude, and he worked hard for it. Revelatory? Not really. But Spielberg’s experience does have a lot to teach you about rejection and the value of persistence. Step 1: Prevent Laziness It’s easy to become jaded as a freelancer with all the rejections or simple noreplies. I have been through it and the poison it spreads is laziness and a lack of passion. After sending out so many resumes in response to job offers, you settle into an attitude of disappointment when you don’t hear back. Don’t let this affect you. So maybe you’re not the next Steven Spielberg, but you

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don’t have to be because success is what you make of it. For you, that could mean working low budget indies the rest of your life on a decent income. For others, they want all the pizazz and showbiz perks of working through the ranks in Hollywood. Steven Spielberg could’ve gotten lazy, but then we wouldn’t have movies like Jurassic Park. Basic Lesson: You’re never going to get what you want by becoming lazy. Step 2: Overcome Your Attitude It’s tough to do, but eventually you have to overcome the disappointment and the feelings of failure to regain your passion. What if Spielberg had decided that after three rejections, maybe he wasn’t cut out for the film thing after all? He very well could have, but do you know why he didn’t? Because he loved film. He was passionate about it. He was driven to make great movies. He didn’t do it because he wanted to get rich. Or famous. Or hang with celebrities.

“Because he loved film. He was passionate about it. He was driven to make great movies.”

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Those were all results of his stellar career, but what got Spielberg up each morning to send letters to USC in spite of rejection was a simple love for the art of filmmaking. To him, USC was the chance to become better at his craft. Whether you’re a PA, a grip, a camera assistant, or an aspiring director, there is a passion that exists in all of us to contribute to the art of filmmaking. Don’t let go of that. Instead of deciding that you shouldn’t apply to any more jobs because of rejection, decide that you will send more resumes in spite of the rejections. That’s what Spielberg did. When he was told “no,” he wouldn’t accept it. When you turn negatives into positives, even the bad news has a silver lining attached and you can push yourself even further.

“Instead of deciding not to apply to any more jobs, decide that you will send more resumes in spite of the rejections.”

A good attitude in your mind and unprecedented passion in your soul will push you ahead in this industry over those who have settled too comfortably into the “job.” This isn’t a job – it’s a lifestyle and a career. Basic Lesson: Be positive and push yourself forward because you love film.

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Step 3: Make your eventual success, enjoy it, and share it So after being rejected three times by USC, why did Spielberg decide to donate money? To teach a class? And how did he earn his honorary degree? It was a long road that required years of Spielberg going to a different college, dropping out, getting a job at Universal, and making multiple short films until one was finally noticed by an employee of the studio. Even after that, Spielberg underwent tremendous pressures putting together the films that built his career. Once he gained his success, Spielberg was invited by USC to accept an honorary degree. As a cherry on top, he said he would only accept if the person who had rejected him signed the degree themselves. One signature later, Spielberg was a USC Trojan. With his success acknowledged, Spielberg began to donate money to the school to help the generations of filmmakers set to inherit the art form from him. Don’t expect to have success land in your lap – you need to make it. And once you

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have it, you won’t have to prove how good you are anymore. Instead you can enjoy your success. But Steven Spielberg took this a step further: instead of gloating, he accepted his degree and started to pass the craft onto others. Spielberg turned his success into an opportunity to share and help others who, like him, had faced rejection. Basic Lesson: Once successful, you will have the chance to help others in a position similar to what you are in right now. Seize it and share your knowledge. The Next Spielberg (Sort of) Use this three-step guide whenever you feel close to giving up. Take your rejections and turn them into something positive. Not everybody will end up being the next Spielberg. Statistically, it’s improbable. Realistically, it’s not feasible. But in at least one way you are exactly like Steven Spielberg: You have faced rejection and you have the ability, the drive, and the strength to overcome it.

The Rollercoaster Ride of Landing a Film Gig You wait hours before you’re finally at the front of the line. But, really, you’ve been

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waiting longer than that – days, weeks, months even – just for this. As you begin to realize the moment has arrived, your hands begin to tremble and your stomach starts to sing. You aren’t normally like this, but this time it’s different. It’s special because you want it more than anyone and you’d do anything to make it happen. So you pick up the phone and you call the producer back, dialing each number slowly to delay the inevitable, but ready to pull out all the stops to help you actually get the gig. Before you know it, the phone is ringing and it’s like you’re strapped into a rollercoaster – one you’ve never been on before, one built to scare the hell out of you. You’re Locked In, Being Pulled Up the Lift Hill Hearing the chains of the lift hill steadily cranking the coaster cars along the track is always an adrenaline trigger.

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*Click-click-click-click-click-click-click-click* But as scary as the lift hill is, it’s a relatively calm time on the coaster. It’s relaxing (as long as you don’t look down), it’s slow, and it’s predictable. You can’t stop the lift, but at this point in the ride you’re optimistic and ready. When trying to land a film gig, climbing the lift hill is akin to the initial phone call or negotiations with whomever is hiring you. The conversation is fairly relaxed, not too many hard hitting questions come out, and you’re ready and willing to do whatever. *Click-click-click* At this point in the lifetime of landing the film gig, you and the other person are feeling each other out – like you may talk to another rider on a rollercoaster – trying to gauge your levels of experience and whether they’re one of the right people to work for. *Click-click-click* And when you hang up the phone, you’re usually pretty optimistic. The project seems to have legs, the material is interesting, and they were genuinely impressed and willing to have you on board. You’re lulled into thinking, “Hey this isn’t so bad! And look at the view from here!”

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becoming the reel deal how to launch your film career in the camera department

*Click-click-clank………* Now You’re at the Top of the Drop The “clank” sound is your cue things are about to get serious – a friendly reminder that you’re not on a Ferris wheel or a gondola to see the view, you’re on a massive thrill ride about to plummet into the ground. And before you even have time to consider how high you are, you’re being hurdled at an incredible rate straight down towards the Earth. Your vision tunnels because you can only focus on what’s ahead and you’re screaming out of fear because your body won’t let you have any other reaction. It’s the same feeling you get when you sit down to talk with the person about their film project and they give you unfortunate news: delays, funding issues, they might be going with a different director of photography and, thus, a different you. Suddenly, you question everything. Why did I call them again? How is this fair? Is the show ever going to happen?

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As you reach the bottom of the drop, even though you know better, there’s that tiny voice echoing in your head bringing up the possibility that you might hit the ground. And there’s nothing you can do about it. Suddenly, the Track Smooths and You’re Heading Up Only a split-second from the ground, you’re shoved into your seat as the track catches the car and throws it back into the air for the second hill on the ride. You laugh and scream, amazed and impressed at the death-defying trip you just took from above the trees to under them again. Even if you aren’t scared of rollercoasters, there is an instinctual relief of “I survived it.” In terms of landing that film crew job, this is when things get back on track (pun not only intended, but applied with severity). The DP you work for is going to be the one they go with. The funding issues have been resolved by a miracle investment. The production is delayed by a week, but no more. It’s relieving to you because, barring a complete failure of the production to come through, you’re 98% sure you’re on board and can start planning the necessary pre-production elements. You get to help build a camera package, order

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expendables, and maybe even hire the rest of your department. This is when you realize the lift hill and first drop were worth it to help you get to where you are now. You Go Through the Loops and Love the Ride Now you can relish the ride. You go through a huge loop and see the world upside down for a moment. You turn left, right, then left again all while traveling faster than highway speeds. You corkscrew and barrel roll and spin and twist and turn until you’ve lost any sense of gravity — and you love it. Some of the unexpected inversions surprise you, but you’re able to take them in stride (mostly because you have to). In essence, you fall in love with the rollercoaster, just as you fall in love with the film industry before a job. All the opportunities lie ahead of you and you enjoy every

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loop, corkscrew, and turn of the process each more than the last. Sure, camera packages get modified, scripts get rewritten, and people come and go from the project, but you’re already locked in and know you won’t be falling out. So you can let the changes lead to new opportunities. The project takes on a life of its own and you’re excited to have a seat on the ride. Finally, the End Brakes Stab at the Car …and you’re stopped. The ride itself is quiet, but the car is full of buzz and laughter from the thrill you experienced. You take inventory of yourself – fix your hair, adjust your hat, and plain smile because you made it back in one piece. It’s like the night before production begins and you’re organizing your toolkit, making sure everything is in order and you’re ready to go. The ride has come to a stop and is slowly moving into the station. You know you’ll have to get out and move on and you’re more than happy to.

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You’re ready to start work and kick ass – to feel invincible on day one. You’ve gone through the drops, dips, turns, and loops and now you can handle anything. So you get off the ride, you look for the next tallest coaster in the park and you say, “That one’s next!” This was just a warm up.

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Chapte r 7 : Un p a id Wo r k

Copy, Credit, Meals Should you work for free?

There are only a handful of industries – most of them full of creative freelancers – in which it is acceptable and encouraged to lend your skills pro-bono. For better or worse, the film industry is at the top of that list. This is not so bad if you’re an established veteran and have some time to kill helping a friend on a project, but when you’re taking the first steps of your career – when everyone would love to pay you, but just can’t – it is extremely frustrating. After all, you want this to be your job. Even though it’s a passion and a dream of yours, you need to pay the bills to keep on the lights and put food in the fridge. So when you’re offered a job, without any pay, what should you do?

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There are two questions you should ask yourself before accepting (or even reaching out for) a job like this. 1. Does the job offer something unique beyond the money? You need to gain something from the project beyond money. Why? Because you won’t be getting any! For example, working for free can give you... • Another line of experience on your resume • Practical knowledge of a camera system or piece of gear • Networking opportunities with established professionals • Access to places you’ve never been before • Favors to keep in a “bank” and cash in on later • Creative satisfaction So you need to find value in something else, otherwise what’s the point of doing the job in the first place?

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becoming the reel deal how to launch your film career in the camera department

For instance, is the film the new Christopher Nolan movie? Will you be able to take on a higher crew position than you normally get offered? Are you interested in moving to this place and working as a local eventually and want to make contacts? Has the production offered to pay for your travel to a country you’ve always wanted to visit? Is the script the best thing you’ve ever read and you think it’ll win Sundance? Are you bored and want to make a movie to fill your time? The list goes on... All of these questions have potential answers that give you value beyond money. And, most importantly, much of the value in those questions can later be leveraged for money making gigs. It’s not selfish to want to get something out of a job where you’re working for free, it’s just smart business. If you’re working without pay simply because the job came to you, then, quite frankly, you’re stupid. You should always have a strong justifiable reason for accepting the job, otherwise pass on it in your best interests.

“It’s not selfish to want to get something out of a job where you’re working for free, it’s just smart business.”

2. Is it logistically feasible? Money is often the deciding factor in doing a freebie – usually when you say “no!”

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becoming the reel deal how to launch your film career in the camera department

Before you even accept the job, is it going to be logistically feasible for you to work on the gig? Will you have to drive very far to set each day? That’s going to cost you gas and time out of your day. Do you have the right tools for the job? If not, you may be spending money acquiring them before you are ready for that investment. Is lunch provided on set? It should be, but don’t discount the cheapness of some inexperienced producers. If the production is a long one, these costs become amplified. Remember: each day you work for free on set, you aren’t getting paid anything! You’ll be spending money without putting more in. And though you’re still doing the same thing when you aren’t working, in my experience, I spend more money when on the job than when I am hanging out around my home.

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becoming the reel deal how to launch your film career in the camera department

This is because I eat out more often, drive more frequently, and spend money on small tools or accesories to help me do my job better. 3. Are they helping you at all? There are times when production seems to be like an evil corporation clutching onto every last penny in its bank account. Though the budget is small, you want a slice of that pie, no matter how little it ends up being. And I don’t blame you – you deserve at least a bite. My favorite line to use on producers who ask me to work for free is, “I don’t want this job to cost me money” I don’t want to pay for the chance to work.

“I don’t want this job to cost me money. I don’t want to pay for the chance to work.”

Things like gas for my truck or expendables for my toolkit cost money. And if I’m spending money on gas to get to your set, then it’s costing me extra money to work for free. This is especially important to me when my truck ends up being used by production for transporting camera gear (as it usually does) or other crew on set start stealing my expendables (you know who you are).

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becoming the reel deal how to launch your film career in the camera department

If there is one thing you should be a hard ass about when it comes to working for free it is this: Never pay to work for free. Most producers will understand this sentiment because, like you, they have probably worked without pay at some point. You don’t have to be an asshole about it, but be firm and honest. After all, it doesn’t make sense for you to end up losing money because you’re doing a favor for them. Still, in some instances, they won’t budge. You have two options at that point. 1. Consider swallowing the cost this time around and use it to your advantage on the next job with the same people.

“Be firm and honest. It doesn’t make sense for you to end up losing money because you’re doing a favor for them.”

2. Turn down the job. It’s never easy to say “No” to a project, but you have to be pragmatic about it. Do a bit of soul searching and weigh the benefits vs. the losses. What is this job really worth?

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becoming the reel deal how to launch your film career in the camera department

5 Crucial Money Management Tips Since you will be spending more money than you make on a freebie gig, it’s crucial to be frugal with your expenditures. Here are five tips that will go a long way towards managing your money for the better: 1. Get a credit card to use for business expenses only. This will make it easier to track receipts and purchases, which is helpful around tax time. 2. Save every single receipt, even if you don’t think you will need it. 3. Make it as easy as possible for production to reimburse you for things they are paying for. Offer mileage totals, gas receipts, airfare options, etc. Spreadsheets are your friend. 4. Do not front any money for the production unless it is absolutely necessary. Tell them you are already stretching your budget to be there and can only afford personal expenses. No production should pressure you to spend money when you’re already working for free. 5. Carry some cash on you. You never know when you’ll be in a remote location

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without access to an ATM, but have a need for money. What all of these tips come down to is being able to track your money and be aware of what you’re spending. That is the best way I know to keep from losing too much money on a freebie gig and it helps tremendously with invoices and taxes.

Working as a Local On Location Imagine this: you’ve just received word that your favorite director, Master Director X, is producing their next movie a state away. You email the producer your resume and a note saying how much you would love to work with Master Director X. They respond offering you a position on the crew and now you’re excited because this is a once in a lifetime opportunity. In may even be your first job – your foot in the door! Then the bomb drops: production isn’t going to pay for any of your travel expenses. Plus, you’re on your own for accommodations. You have to work as a local or not work at all.

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becoming the reel deal how to launch your film career in the camera department

When you work as a local, the production doesn’t compensate you for any travel or accommodation expenses. The entire idea is that by hiring locally, a film saves money in its budget from not having to put crew in hotels, give them per diem’s for food, and pay for the cost of airline or bus tickets. But when you work as a local where you aren’t actually living, it just means production doesn’t want to or can’t afford to pay for those things. This is a tough proposition because even if it’s a great opportunity, having to travel for a job – a free job, no less – is always a bit of a hassle. • You’re going to blow a lot of money simply living • You will have to figure out accommodations • You will need to plan for the logistics of travelling • You will have to be comfortable being away from your friends and family Before you jump at the chance to work on the shoot, ask yourself how feasible it is. Are you even able to guarantee that you would have a place to stay? Do you have friends you can stay with? Or will you have to shell out for a hotel? Do you need to bring your own car? How much will gas round trip cost? Is the cost of living in this area high?

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becoming the reel deal how to launch your film career in the camera department

Further Advice for Working as a Local on Location When it comes to accommodations, find out if you have a friend or relative who lives nearby and ask if you can stay there. Offer to pay rent if they are hesitant. If that search comes up empty, call nearby hotels and explain your situation. They may provide a discount if they know you will be staying for a long period of time. You can also talk to the producer on the project and ask if they have options for non-local crew. They may already be putting certain crew in a hotel with discounted rates. Perhaps you can get in on that, but pay out of your own pocket. Be acutely aware of the logistics of the job. Like I mentioned above, seemingly innocuous costs will suddenly become a big deal when you’re away from home, especially for an extended period of time. Where will you do laundry? Do you have a bank nearby to deposit paychecks? If you fly to the location, will there be a car available for you to run errands? One of the biggest hurdles I ran into when I worked out in Vegas for a month and a half was living my life as I normally would – of course, it was Las Vegas! But regardless, all of those questions above became amplified.

“One of the biggest hurdles I ran into when I worked in Vegas was living my life as I normally would.” theBLACKandBLUE.com

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becoming the reel deal how to launch your film career in the camera department

Lastly, you can still get the production to pay you later on in a shoot. And this goes for all types of projects. I once watched a production manager hand out checks at the end of the shoot to PA’s who had worked an entire 20 days for free. I was amazed! When I asked her why, she explained that the shoot came in under budget and she wanted to reward the hard work of the PA’s. While the stipend she doled out was minimal, it was a nice gesture to acknowledge their efforts on the shoot. In another situation, I had a producer pay me more than we originally agreed upon. I had worked for relatively cheap and they found more money in the budget. They wanted to give some of it to me because they were impressed with my work. The key to finding yourself in a situation like this is to be so valuable to the production that they couldn’t imagine anybody else doing your job – or the shoot going as smoothly without you. Working for free – whether on location or not, as a local or via travel – is all about

“Be so valuable to the production that they couldn’t imagine anybody else doing your job.” theBLACKandBLUE.com

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becoming the reel deal how to launch your film career in the camera department

finding something to get out of it other than money. If all goes well, you meet new people and open doors to money further down the line. Basically, it’s an investment. And at the end you hope you get a cool experience out of it too – whether that means learning a new skill or seeing a part of the world you hadn’t before.

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Resumes

Crafting Your Freelance Resume

A quality resume is something every freelancer struggles with. How can you dilute a wealth of knowledge and experience onto one page? It hardly seems fair, and honestly, it isn’t. But regardless, the resume is generally the standard by which our professional experience is judged by strangers. Back when I was looking for a great 2nd AC, I would post job listings that produced many resumes of potential hires – many of them just like you. I sifted through their emails and PDF attachments, making sure to read each one and give each person a fair chance.

“A quality resume is something every freelancer struggles with. It hardly seems fair, and honestly, it isn’t.”

My point is that I know what to look for and I want to help you get your next gig by

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sharing the process I went through when choosing a camera assistant to work for me. Hiring a 2nd AC is a crucial decision for any 1st AC. If the gig goes well, the 1st AC and 2nd AC will often work on many future productions as a team, learning each others’ tendencies along the way and develop a strong friendship as a result. But before that work relationship can be cultivated, you have to find the right person for the job. And that means reading resumes.

Guidelines for Formatting Your Freelance Resume First thing’s first: forget everything you’ve been taught about resume formatting. Your high-school counselor, your college career advisor, your mother, father, brother, your cousin with a business degree – they’re all wrong. Don’t make the same mistake I did and take your formatting cues from the traditional channels. The only ones who know how to format a freelance resume are freelancers. So unless any of those people above are veterans of the film industry, ignore their up-front advice. They may be good to get opinions from once you have a rough draft of your resume, but for the most part, they will steer you in the wrong direction.

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Meanwhile, I will do my best to steer you in the right direction. I can’t promise you’ll have a 100% guaranteed bulletproof resume, but I can promise your resume will be stronger if you follow my advice than if you follow the advice of “experts.” So here are a few guidelines for you: 1. Keep It on One Page OK so not all of the expert advice is wrong and this universal rule holds up across the board. A one page resume is stronger in many ways. One, it’s easier to read. Two, it forces you to be concise and showcase only your best work and skills. Three, it is generally full of less BS and filler. Most professionals, even those with hundreds of credits to their name, will curate a one-page resume. They keep their most recent or well-known work and get rid of anything else. In the beginning of your career, this guideline won’t matter as much since your

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experience will be low and it will be hard to justify a resume longer than a page. But as you begin to get more work and add more credits to your name, the temptation is to start expanding to another page. Resist it and instead weed out unimportant elements of your resume to make more room for your experiences. If you absolutely must expand beyond one page, at least stay under two pages. On the flip side, you may find yourself attempting to add filler to your resume at first to make up for your lack of experience. I view this as a necessary evil. You will, admittedly, have to add some unimportant items to fill a one-page resume in the beginning of your career, but remove them as soon as you get more experience. 2. Experience Goes First, Everything Else Goes Last Don’t fill the top part of your resume with fluff. Your experience should be the first section – no matter how small – after your name and contact information. All of your accolades, awards, skills, and equipment comes second to answering the question, “What have you done?” If all you’ve done is work on student films as a grip, I want to know. If you’ve only ever worked on one film in the camera department, that’s handy information.

“Your experience should be the first section – no matter how small – after your name and contact information.”

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In some cases, this may rule you out from a job, but if that’s the case, you were probably never competitive for that job in the first place. It’s better to be honest upfront and land the right job than try to persuade someone you’re the best for a job that you aren’t. I know this from experience. On my old resume, I used to have education listed first, as I had just graduated from Virginia Tech. Then I learned that... 3. Your Degree Doesn’t Matter (Except It Kind of Does) As discussed earlier, you don’t need a degree to be successful in the film industry.

“It’s better to be honest up-front and land the right job than try to persuade someone you’re the best for a job that you aren’t.”

“So my degree is unimportant,” you say. Well, in a way, you’re right. So how does this pertain to your resume? It means your education should be one of the last things you list. While a degree is a nice thing to have, it doesn’t make or break your employment on a film job. Your experiences, skills, and abilities are what matter the most. A degree, especially in film, may factor in only after all of those other things have been considered. It could be the tipping point for landing the job. But, to be honest with you, I never really looked at the degrees of resumes I

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received unless I found the other sections underwhelming. So what I’m trying to say is that it’s not a bad idea to put your education on your resume – it won’t hurt you – but don’t make it the highlight. Place it at the bottom. 4. List the Production, Leave Out Your Responsibilities The single greatest mistake I see newbies to the industry make on their resumes is to list out every responsibility of each production they were on. I don’t blame them for doing this either. This approach is recommended by most “experts,” so it’s hard to ignore when you’re looking for resume guidance. But here’s why it sucks: crew already know what each other do on a film set. I’ve worked as a 2nd AC. You don’t need to tell me how when you were one you were in charge of “Streamlining and maximizing film magazine workflow.” Or that time you were a production assistant, “Retrieving and delivering planned production resources” was your modus operandi. Hint: it doesn’t make passing out call-sheets sound any more glamorous. Unless you’re listing a job that isn’t part of the film industry, do not list out the responsibilities. Your title on set is enough description unto its own.

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To continue along that line, keep each experience you list on one line if possible. The most important details are: • Name of the Production • Your Title on the Production • Date of the Production • Name of Your Department’s Head (i.e. the DP or 1st AD) In some cases, it is prudent to list the camera system you shot on as well (for instance, if you’re applying to a job that asks for camera assistants with RED experience). Here’s an example of how I list a film job on my resume: Beta to the Max, 1st A.C., DP John Doe, RED One MX (July 2010) From this one line you can determine that I worked on a movie called “Beta to the Max,” where I was the 1st Assistant Camera working with Director of Photography John Doe on a RED One Mysterium-X and the shoot was less than a month long. As a bonus, if the person reading my resume has worked with John Doe, I have an in. Or if nobody else who applied has RED One MX experience, I have another advantage.

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That single line is much more informative than five overly descriptive bullet points of glorified responsibilities. 5. List Only Unique/Select Skills Along with unnecessary responsibilities, you should also remove lists of unnecessary skills. While Corporate America might like things like “Keen and Decisive” or “Exceptional at Leading in a Team Environment,” the film industry doesn’t care at all. Now don’t get me wrong, you’re encouraged to list skills and abilities, but only if they are unique enough to warrant it.

“While Corporate America might like things like ‘Keen and Decisive,’ the film industry doesn’t care.”

For instance, almost everybody applying to be a camera assistant will have “great attention to detail” as a skill. It’s a necessary element of doing the job well. If you’re applying for the job, you’re assumed to have great attention to detail. But a great skill to list would be something like, “Experience with Final Cut Pro 7 RED workflow.” That is important, especially for RED shoots. And not every camera assistant embodies that skill. Some are more comfortable with Adobe Premiere. Some are used to only checking footage. Others have no editing experience at all.

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In short, list only skills which enhance your ability to do the job you’re applying to, not simply reaffirm the assumed duties of the job. A Few More Minor Guidelines Objectives: Throw them out. Your objective is obvious: get the job you applied for. Phone numbers: A must-have on your resume. Many productions will pull a crew together last-minute and phone is the preferred contact method. Sure, list an email and an address as well, but expect your phone to ring when it’s time to talk to a producer. Also, list a number you’re readily available at (like a cell phone) to make sure you don’t miss said call. Websites: Good to have as a freelancer. Definitely put it on your resume if it accurately reflects who you are. If, on the other hand, it’s a personal blog about your dog, don’t put it on there just to show it off. Consider it an extension of your resume if you’re going to add it. When it comes to making a resume, there are only so many guidelines I can give you and none of them are hard and fast rules. While I strongly urge you to follow them, if you feel the need to change or tweak them, then do so without reservations. At some point, you have to make your resume your own to suit your preferences.

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10 Questions About Your Resume To help cut down on the clutter of resumes I received from job listings, I began asking myself questions I felt were important in choosing an impressive 2nd AC. Today, I’m going to ask them to you and explain my thought process in choosing these questions. The idea is to help you determine the strengths and weaknesses of your resume from an outside point-ofview. 1. Do you have experience? The entire purpose of a resume is to showcase experience, so it’s only natural this is the first thing I evaluate. I look for types of productions, dates of productions, and whether I recognize any of the projects you have worked on. If you don’t have paid work experience, don’t panic. Experience can also come in the form of student films, film classes, or other related projects. I have had to hire inexperienced 2nd AC’s before and train them, so if there is little experience, I still look to see if they have any connection whatsoever to filmmaking.

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2. Have you worked with this camera before? If the person I’m looking to hire has experience with the camera we’ll be shooting on, I don’t have to worry about showing them the ropes and they will be more useful to me. In fact, they may have some things to teach me about the camera. This is easy if you have plenty of experience – simply list the cameras you’ve worked with alongside the production (like shown above) or in a separate section (i.e. “Camera Systems”). If you are lacking in this area, point out experience with similar cameras in your cover letter. For instance, if you don’t have experience with Alexa, but plenty with RED, point out that you have used digital cameras before and comprehend the basic theories. Mention how you understand the camera’s functions from reading books, manuals, or other means. In short, you need to show that you have a basic knowledge of equipment. 3. What skills do you claim to have? Skills are tangible strengths such as pulling focus, mechanical repair, and loading magazines. Not everybody will have the same skills, though camera assistants should have certain ones (such as those just mentioned).

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A lot of camera assistants I know will supplant a skills section on their resume with a section that describes what cameras they have experience with since experience with equipment often translates into the skills necessary to use it. My advice here is not to exaggerate. You either have skills or you don’t. Inflating them may help you get a job, but could lead to embarrassment on set if you are put in a position to execute them. If you are asked about a certain skill you don’t have in your repertoire yet, make it clear that you understand the concept behind it and are willing to learn.

“You either have skills or you don’t. Inflating them could lead to embarrassment on set.”

4. What abilities do you claim to have? Where skills are tangible actions, abilities are intangibles like efficiency, communication, and optimism. There is no true measure for these claims, but they can be qualitatively evaluated. I do find abilities as important as skills, especially if I am hiring somebody who does not have much experience. For those without much experience, this is your time to impress. Turn your passion into a positive by translating it into abilities like “hard worker” or “takes direction well.” If I was going to be training or mentoring you, I’d want to know that you were up to the challenge and willing to bust your butt. I can teach you skills, but I can’t teach you an attitude.

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5. Do I get the impression that you love this job? When I am looking to hire a 2nd AC, I want somebody who loves their job. They need to have a drive for the work like the best camera assistants do. Film sets are tough and without this sort of attitude, it’s easy to burn out. I know I still have this passion, so I want to work with someone who feels the same way. The easiest way to show this? In your cover letter or note you send with your resume. Make sure you mention why you want the job. It can be as simple as “I love movies” or “I want to learn more about this camera.” Either way, showing that you’re interested in more than the job is the best way to prove you have a passion for what you do. 6. Do I get the impression that you work hard? Passion almost always breeds hard work. And film work is not easy work: You’re on your feet most of the time, you’re lifting heavy equipment, and there is loads of pressure not to make mistakes. A lack of experience, but passion to learn, is usually an indication of a hard worker.

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On the opposite end, having a heavy load of experience indicates that you have the propensity to put in a full day of work. Hard workers care about details so you should use correct grammar, spelling, and punctuation on your resume. Proofreading is done by diligent people. Also, take time to craft your resume and pay attention to aesthetics, placement of sections, and overall presentation. Don’t let it look lazy. 8. Is your resume inflated or does it speak for itself? After landing my very first camera assisting gig, the cinematographer told me some sage advice: “Take off your resume the fact that you wrote for the student newspaper and were Vice President in your club – nobody f**king cares.” “I was only trying to fill space,” I protested. He shook his head, “Nobody cares.”

“Take off your resume the fact that you wrote for the student newspaper – nobody f**king cares.”

And he was right. When I look to hire a 2nd AC, I want to see real skills, abilities, and experience. 9. Will I end up doing your job because you can’t? I have been burned so hard with 2nd AC’s who can’t do their job. It’s not because they weren’t trying or didn’t want to, they simply weren’t good enough. It sounds

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harsh, but it slowed everybody down which is unacceptable and it’s tough to be a one man band. When I read a resume or cover letter, I try to get a feel for the overall chance of this happening. This risk is often a balance between skill set and experience: • Experienced AC: Low Risk • Skilled AC with Minimal Experience: Low to Medium Risk • Newbie: High Risk The intangible factor in this equation is passion. With a newbie, is the passion to learn enough to offset a lack of experience? That is the true heart of the matter. 10. If I was doing your job, would you do it as well or better? This last one is crucial for me. At one point in the hiring process, I lamented to some friends that I wish I could hire myself to do both jobs. That may sound egotistical, but I was really trying to drive home the point that I have a certain way of doing things and I want somebody else to be able to do it better or just as efficiently as me. When it comes time to choose a resume, I look for someone who I think could do the job better than I could.

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With the 2nd AC I currently work with, he has more experience than me and I was intimidated by that at first. In the end, I realized that if I wanted to hire myself, this guy was as close as I would get. I still believe he does the job better than me and we work great as a team because of our similar approaches.

The Cover Letter I know every job site says it, but always send a cover letter. Especially when cold calling a job, not sending a cover letter (or at least an informal note in an email) is going to sink you to the bottom of the pile. When I wade through resumes for a 2nd AC, the cover letter is what helps me determine who really wants the job and whether they are the right fit. Without the cover letter, the resume is only a document submitted by an anonymous individual. I’ve been through the murky waters of the job hunt and so I know how easy it is to fire off an email with a resume attached. Conversely, I know how much more time it takes to personalize that email towards a particular job. I also know the jobs I took the time to do that were the ones I really wanted. Simply writing a cover letter proves you care more than most. And if you can take

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that chance to prove you’re exceptional, you’ll be a hard applicant to turn down. With that said, you’re not tasked with writing a novel. Instead, utilize the cover letter as an opportunity to briefly introduce yourself, explain why you want the job, and why you think you deserve it. This is not the time to sell yourself short, although, it’s not the time to be arrogant either. You have to tip-toe the fine line between humility and overblown pride. A great way to come across as modestly confident is to claim you are great at what you do, but know you have always have room to improve and learn. But don’t just use that tip because I told you to – believe it when you write it. Once you believe it, you’ll embody the precise attitude needed to deliver a promising cover letter. As a general rule, try not to extend this note beyond two paragraphs, especially if you’re applying via email. Anything longer and it seems too overwhelming at the time. The result is it either won’t get read or it gets put into a “deal with it later” pile. It seems obvious for me to tell you to double-check before you hit “Send,” but in the film industry, details matter. Those who don’t bother with checking their spelling will make mistakes on their camera reports or mis-slate shots, among other things.

“As a general rule, try not to extend this note beyond two paragraphs, especially if you’re applying via email.”

Don’t give off the impression you’re careless and disorganized.

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Relax, It’s Only a Resume Lastly, don’t panic. In the end, it’s only a resume and a cover letter. Do the best you can to impress and hope that somebody realizes your potential. After that, it’s out of your hands. You will not get every job you go after. In fact, you probably won’t get most of them, but that’s OK. You may not even hear from who you applied to depending on their approach to the hiring process. If you do hear back and it’s a “no,” ask them if there is any other place on the crew you can fill in. If it’s still a “no,” thank them for their consideration and let them know you’d love to collaborate in the future. Initiative and persistence go a long way in these email exchanges. So don’t panic – I promise there will be more jobs as time goes on and you’ll get another chance to prove you’re the right one for it. Or, preferably, you’ll just get the job in the first place.

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proving yourself

5 Steps to Boost Your Professionalism

If you were an astronaut sitting atop a rocket, upon launch you’d be put through a whirlwind of 2.8 million pounds of force. This would help separate you from the Earth’s gravitational pull and travel into the upper strata of the atmosphere. As a freelance filmmaker, you want to be the astronaut, but are stuck in the crowd watching the launches on TV, hoping one day to pull yourself from the gravitational field of inexperience and into the upper strata of the professional world. To boost yourself into this realm involves, in part, establishing your professional credibility. But how do you prove that you’re skilled and worth the money? It’s tough, but with these five steps, you can start the countdown to blastoff.

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1. Maintain Your Online Presence When you work as a freelancer, your name is your brand, your company, and your reputation. Part of that identity is your online persona – whether you want it to be or not. In the past, I’ve gotten flack for advising people to have an online presence, whether with their own website or through IMDB, but I stand by that. Though it doesn’t matter as much once you have experience, every extra effort when you’re first starting out is worth the time. Get a Website The best way to combat a bad online presence or the lack of one is to control it yourself by building a website. When I got my first paycheck from a film gig, I invested the money straight into a domain name and some web hosting. When all was said and done, it cost me about $120 to have my own website for a year. I built the site myself, but nowadays there are plenty of free and low-cost opportunities to have a website template added for you.

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You may think $120 is a lot of money for a website, but the exposure it provides to those seeking you out will pay itself off even if you only get one job as a result. Remember this is your professional identity so consider it an investment rather than an expense. If you decide to get a website, it is integral you have a self-hosted domain (i.e. johndoe.com as opposed to something like johndoe.tumblr.com) because it proves you take your job seriously enough to invest money into it. For cheap web hosting I suggest BlueHost, as they have treated me well with my personal site and The Black and Blue. I also know many others who have had positive experiences with them.

“If you get a website, it is integral you have a self-hosted domain because it proves you take your job seriously enough to invest in it.”

For cheap designs, I suggest building your site around the WordPress platform with one of thousands of free themes or the Genesis Framework if you are interested in a higher quality premium theme (it’s what The Black and Blue uses). A simple website is going to suffice so don’t try to make it more complex than it needs to be. A place to view a resume, some contact information, and a few pictures is enough to show who you are. Lastly, be realistic. You don’t have to sell yourself short, but don’t bill yourself as “the greatest cameraman ever,” or list yourself as a director unless you actually direct.

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Google Yourself Of course, who you are isn’t necessarily who people will perceive you to be. Googling your own name is the best way to find out what others are reading about you when they do the same. If pictures of you in college are popping up, request to have them taken down. If that old YouTube account pops up with student films you’re embarassed about, consider deleting the account or making those videos private. The whole point is you need to research what others will find out about you over the Internet by using the same methods they will. Exercise Privacy Options When you Google your name, some questionable material may rise to the surface, but there’s a secret – a lot of this stuff can be controlled by you. Not many of us are well-known enough to be written about by others on the Internet, so most of the websites that rank in Google with our names are controlled by our own social media or website accounts.

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If you like Facebook to be personal, make the privacy settings reflect this. Same with Twitter and other social networks. It’s best to go all in or all out – either be professional and open everything or keep it personal and closed. My own rule is to treat all social networks as a public forum even if they aren’t. So even though my Facebook is limited to close friends and family, I carefully curate what is on my page to reflect myself professionally. That way if, for whatever reason, someone I don’t know stumbles across my page, they don’t get the wrong impression. In the film industry, how open you can be online is a bit more loose than in the corporate world, but be aware of what you are posting. It’s fine to go wild if you want – that’s your prerogative – just be aware not everyone has the same attitude.

2. Clean Up Contact Methods

“It’s fine to go wild if you want, just be aware not everyone has the same attitude.”

Once you have an established online presence, a producer may visit your website and decide they want to give you a call or send an email to check your availability. At this point, you have someone’s trust and it’s yours to lose. When someone wants to get in contact with you, they should have the feeling they are contacting somebody who knows what they are doing – like they would a business. After all, the hiring process, though relaxed at times for freelancers, is

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ultimately a business meeting. Use a Professional E-Mail Address That Hotmail account you set up in high school as “TankMasterD00d82″ probably isn’t going to impress anybody, even if you are a “tank master.” You can’t get more professional than your name, so use it for your email address. In fact, if you create a website like I mentioned above, you can create an email off your domain to come across as even more professional: John@johnpowers.com or heather@heathersmith.com are both simple and authoritative. If your name is taken, use a variation on it like “jpowers” or “johnp18.” It might even be worth it to have an email dedicated solely to film jobs and then route it to a common inbox. Gmail is very good at handling things like this. Record a Simple Voicemail Message Ringback tones, joke rings, voicemail messages where you pretend the phone isn’t connecting – some of these are great social expressions of who you are, but all of them will annoy a person who just wants to leave a message.

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A simple voicemail message works best: Hi, you’ve reached (your name). Please leave a message with your name and phone number and I’ll get back to you as soon as I can. Most of the time people are listening for two things in a voicemail message: 1) if your name matches the person they meant to call and 2) the beep to let them know they can start talking. Don’t overcomplicate things.

3. Make Some Business Cards A lot of people are afraid to have business cards because it seems too official and so lame. I used to be in this group of people that got embarrassed to hand out business cards. I no longer think that way. Most of the time on the last day of a shoot, business cards are exchanged like Christmas gifts. Giving your business card to somebody is nothing more than giving them a memorable way to contact you.

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So get rid of the salesman mentality and just realize someone having a card is more likely to remember your phone number than that person you gave a ripped up piece of paper to with a number jotted down on it. Designing Your Business Cards Designing a business card is as easy or as hard as you want it to be. If you are talented with Photoshop, Illustrator or another design program, then let your imagination run wild. If you have no design experience, there are plenty of templates online. It doesn’t have to be spectacular (though the better the design, the more impressive it looks and, subsequently, you will feel better handing them out), but if you want to hand it over to more skilled hands, try outsourcing to a website like Fiverr or eLance. The important thing is to have all of your essential contact information on your card and probably more than you give away on your website. As an example, I have a website that only lists an email address, but my business card contains my phone number as well. Getting Business Cards Printed You can try the print-at-home products you find at Target or Best Buy, but they are not dependable and the cut on the edge from perforations isn’t clean.

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Depending on how many cards you get printed, you can investigate local print shops or chains like Kinkos. There is also a website called Club Flyers I have used before. They offer 1000 cards for only $25 which is a very affordable price.

4. Join Professional Groups and Services It’s the best advice you never want to hear: “Networking is the key to success.” Sorry, but it’s true. You can spend all the time in the world trying to work around it, trying to ignore it, and trying to prove it wrong, but you’ll eventually find yourself falling back into its trap. There’s a good reason it keeps surfacing in this ebook. So, you can either waste time and end up back where you started, or you can skip all that nonsense and get down to it. Either way, you need to meet people and you need to make yourself available as a professional to be considered one.

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Crew Directories Networking isn’t always active, it can be passive as well, such as having yourself listed in crew directories or on websites that gather crew. Local or Regional Listings Many cities, states, or regional governments have film offices designed to mediate between filmmakers who want to shoot within their jurisdiction and the people, businesses, and areas where they would be shooting. These are the most effective types of crew directories. I am from Virginia where the Virginia Film Office keeps a production directory where you can list yourself in many crew positions. If you were to look me up, I am currently listed under 1st Assistant Camera and 2nd Assistant Camera with a credit list and contact information. These directories do not guarantee you will get work from them, but for the small time investment, you can’t turn them down. Besides, it can strengthen a word of mouth recommendation if a person sees you’re listed in a crew directory as well. It lets them know you take yourself seriously enough to seek out professional services and get your name in them.

“These directories do not guarantee you will get work from them, but for the small time investment, you can’t turn them down.” theBLACKandBLUE.com

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Online Listings Online directories are the easiest step you can take right now with little to no cost. Many of the most popular crew call websites are free to have a listing (though you pay extra for additional features). Here are a few: • Production Hub • Mandy • Actors and Crew • LinkedIn (Sort of…) • Reel Clever If you spend an hour right now, you could set up a profile on each of these, and though it may never lead to any jobs at all, if it leads to one job – and subsequent jobs from that – it could be worth the small time investment. Filmmaking Alliances and Unions Unions are bar none the easiest place to network and find solid work (duh). Unfortunately, it’s a Catch-22: to get in the union you have to work so many days, but to get work, it helps to be in the union.

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So what can you do? There are many alliances or unofficial groups created solely for the purpose of networking. In my home state, there is the Virginia Production Alliance and in your area there may be something similar. No matter how small it is, it only takes one person worth meeting in that group to make your time worthwhile. And one way to network and perceive yourself as a professional is to hang around with other pros.

5. Walk the Walk All of the steps above will mean nothing if you don’t adhere to this one: You need to embody the professional demeanor to be perceived as a professional. No business card, website, or social media presence will give you claim to that title unless you earn it. These days, people don’t care what you say you are or what you want to do, they want to know if you can do it. So pick up your bag of tools and get to work on it. Do everything in your power to

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get work, do everything in your power to act like a pro, and do everything in your power to gain experience. Don’t goof off on set, don’t ever get lazy, and never think that “I don’t know” or “I can’t do it” are acceptable excuses. Professionals won’t settle for that and, if that’s what you want to be, you can’t settle for it either. Set impossible standards and reach for them. Ask the crew you work for at the end of each day, “Is there anything you wish I did better today?” and let them be honest. Listen to their critiques and give it a fair shot. Professionals not only talk the talk, but walk the walk and are always trying to run. They want to be better than everyone else even if they know they can’t be in certain areas. They feed on the fuel of set work and power through the days you think you just won’t make it.

“Set impossible standards and reach for them. Ask the crew you work for, ‘Is there anything you wish I did better?’ ”

Being a professional isn’t just a title or an appearance, it’s an attitude and a work ethic.

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The Reel Deal

Your Future in the Film Industry

There’s nothing quite like the naiveté of doing something for the first time. You’re nervous, anxious, excited. You bubble with anticipation for what surprises lie ahead. Then there’s the actual experience of the first time and it’s usually not what you expect it to be. You probably can’t even explain what you expected it to be like, but you know it felt different. Rarely do experiences turn out how we think they will or, if they do, there’s still a small element of surprise.

“Rarely do experiences turn out how we think they will.”

Starting your career in the film industry is just like that too.

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7 Unrealistic Expectations of Film Industry Jobs Your expectations for life as a filmmaker are sure to be challenged and some of them will turn out to be unrealistic, like these these 7 listed below. 1. You’re going to be super rich and famous Your friends and family love to call you the next Steven Spielberg or talk about how when you’re rich you can buy them a house, or a new car, or “don’t forget me in the credits!” It’s all innocent fun and there’s nothing wrong with support for your dreams, but the chances of this happening aren’t quite as high as your family would like. In fact, they’re infinitesimally small. Thousands of people filter through the film industry each year in a variety of disciplines and yet there is only a very small percentage at the top who are well known.

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Even then, their fame and riches are fleeting. But just because you’re unlikely to be the next Quentin Tarantino does not mean you can’t be successful. In fact, you can live quite comfortably working in the film industry if you take the right approach because your skills are highly specialized and only a handful of people have them. Besides, fame and riches are all relative to the context in which they exist. To you and I, people like Roger Deakins and Phillip Bloom enjoy a certain level of fame, but only because we interact within that realm. The general public isn’t really aware of who they are.

“Just because you’re unlikely to be the next Tarantino does not mean you can’t be successful.”

Fame and money are two symbols of Hollywood success, but don’t expect them to be yours automatically because you stepped on a set. 2. You get to hob knob with A-list celebrities I get the impression that those outside of the industry think that showing up on set is like arriving at a party where you walk around, say whats up to everyone, and then sit down next to a famous celebrity talking to their agent and find out what they’re going to wear on Letterman that night. So maybe that’s an extreme example, but regardless, there are people who think getting a job on a movie equates to hanging out with Tom Cruise.

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I’ve been on sets with well-known people and faces, but the majority of work that comes my way doesn’t feature any type of celebrity at all. And when it does, it’s hit or miss on whether they hang out with the crew. If you work long enough in the industry, you will definitely have opportunities to meet and converse with celebrities, but it’s not going to be every show you work on and they won’t always want to hob-knob. 3. Every movie you work on will be successful It’s a 99% guarantee that every movie you work on will be sold to you in some way as “having a real chance.” And in a way, that’s true, but in another way, the statistics are overwhelmingly against it. In his article The Sundance Odds Get Even Longer, Adam Leipzig set forth this startling series of numbers:

“

As an example, let’s take the 2,613 feature films – up 29 percent from 2,023 last year – that were submitted to what has become the primary portal for new filmmakers seeking an audience, the Sundance Film Festival. These completed movies make up the collective hopes and creative output of tens of thousands of talented people. But only 120 of these films – fewer

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than 5 percent of all submissions – were selected for screening at the festival. If it’s a good year, maybe, just maybe, 10 of these movies, or 0.3 percent of the submissions, will be picked up for distribution within the United States. What will happen to the remaining 2,603 movie submissions? For the most part, nothing.

“If it’s a good year, maybe, just maybe, 10 of these movies, or 0.3 percent, will be picked up for distribution.”

The figures are astounding and disheartening, especially when you consider they’re from 2005 and all of those projections have risen. But it’s the reality of a film industry that is ballooning budgets for big 3D IMAX event films while tightening the belt on smaller budget dramas. Even if you work on a film with a great script, there is so much that can go wrong to tank the project. However, with new self-distribution models seemingly emerging every day and internet outlets like Netflix and Amazon embracing the indie film market, your movies can still enjoy some level of success – just not the red-carpet premiere success you might be hoping for.

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4. You’ll get to take vacations whenever Part of the draw to working freelance is the flexibility of it all. There’s no overhead on your employment because you determine when, where, and what you work on. At least that’s the idea. But what tends to happen is the flexibility of freelance becomes a burden. Jobs will rise as quick as air bubbles in water and just as soon pop when they get close to surfacing. In the film industry, no job is secure until you step on set for Day 1. You’ll quickly find yourself planning mini-vacations and trips around the holes in your schedule instead of scheduling gigs around the trips you wish to take. So, while you could theoretically take a vacation whenever, it’s more likely that the work you get will dictate your schedule instead of the other way around. 5. Everyone has a fair shot at the jobs I didn’t want to include this because I hate having to talk about it, but it’s an

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unfortunate byproduct of the human element of the film industry. If you’re like me, you want everyone to get along, to be equal and to offer up help to whoever wants it. You think everyone should have a fair shot at the job. You may think age, race, gender, and the size of your shoes has nothing to do with your ability to get a job, but the politics of hiring are more than alive on certain projects. Let me repeat that: on certain projects. I’ve experienced a bit of on-set politics and it’s not fun at all. It’s disheartening, tiring, and plain stupid, but it doesn’t stop there. It makes me sad to say that women will have a much harder time finding consistent work in the industry than men. For whatever reason, there are certain sets in this male-dominated industry that treat women like they’re all Pippy Longstockings. Just read this post about a young woman who works as an electrician to get an

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idea of the level of ignorance. With all that said, if you work for the right people, you will never have to deal with this. But be warned: there will be times when what should be fair isn’t. 6. You’ll enjoy every shoot you’re on Filmmaking is a wonderful art. I love it, I have a passion for it, and movies are second-to-none in any form of entertainment. It would follow then that no matter where you are, what you’re doing, and how you’re doing it, that making them would be like riding a unicorn on rollerskates through a rainbow, right? Wrong. Not every shoot is created equal. You try to be as smart as possible and take jobs you think will be enjoyable and sound interesting, but that will only take you so far. The simple fact of the matter is that sometimes, you aren’t making a movie and instead you’re working a job.

“Not every shoot is created equal. Sometimes you’re working a job.”

Bad apples crop up every once in a while and you don’t ever see them coming. If you truly love filmmaking, this will be just another bump in the rocky road of life and no big deal. Just don’t expect to walk off every set clicking your heels when there will be times you’re thinking, “good riddance.”

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7. Your job is creative, fun, & therefore, easy I saved the best for last: “Filmmaking is easy because all you have to do is make movies! It’s fun! It’s creative! You just think of things, point the camera, and start rolling!” If only that were true. The part of that equation missing is the ridiculous amount of logistics that go into filmmaking. Even on a small set, the amount of planning, set-up, and foresight required is immense. Your job is creative and fun, but it is most certainly not easy. Working in the film industry and climbing the ladder in it is hard and it is tough. You’ll have to stay awake for 12 hours or more on a consistent basis, be able to lug heavy equipment around, and survive the barrage of unpredictable problems that always arise. Of course, there will definitely be days that are easy to offset those days where you’re about to give up.

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But don’t ever fall into the trap that just because you’re working on a movie means you won’t have to put in effort and work your ass off. That’s a one-way ticket to an entirely new career.

Why Many Fail and You Will Succeed The caveat to all of this ranting and cynicism is that none of what is listed above is absolute gospel. Just because it is unrealistic that you will become rich and famous does not mean you can’t ever become rich and famous. Your motivations, whatever they are, exist without the shackles of expectations and reality and your dreams are even more limitless than that. But your ability to pragmatically temper those dreams with what is probable will help you make a successful career in film and hopefully, in that process, you prove me wrong on every single one of the unrealistic expectations listed above.

“Your motivations exist without the shackles of expectations and your dreams are even more limitless than that.”

Are you up to the challenge? When you work on a film set, there’s a lot that’s expected of you. There are dozens of responsibilities, hundreds of tasks, and thousands of ways to mess them up. And in the camera department especially, the pressure can weigh on you like a Pelican case full of lead.

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As you work on a film set, you’re expected not only to do your job fast and efficiently, but safely and correctly. The margin for error is razor thin and mistakes can end up costing a production thousands of dollars or, in some cases, a life. There’s also a complex hierarchy of jobs and set etiquette you have to successfully navigate or risk looking like a fool and getting fired. When you’re given a call time – the time you’re expected to show up on set – it’s assumed you’ll be there 30 minutes early if you want breakfast and 15 minutes early if you want to keep your job. Then you’re expected to work 12 hours, on a good day. On a day where everything’s moving slow (despite your own best efforts to move fast), you’ll be expected to work as long as it takes to finish the days shooting. If you’re shooting exteriors all day, plan on being on set an hour before sunrise and leaving an hour after sunset. In some cases you might get paid more for overtime, in many cases you won’t. In all cases, you can complain about it, but that probably won’t get you anywhere. Nobody on a film set has the patience to listen to complaints nor the time to do anything about them. In this sense, you’re expected to suck it up and deal with it.

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Don’t like it? Then don’t work for those people again. But here’s another funny thing about film sets: you’ll find that those times you hate and those times you want to complain can generate the best shots, the most interesting stories, and the proudest moments of your career. And in another twist of fate, this amalgation of anxieties and potpourri of pressures forces you to bond with your fellow crew in a way unknown to colleagues in a typical 9-5. Oh – did I mention many productions fail to incorporate setup/breakdown times in their 12 hour schedules?

“Those times you hate and those times you want to complain generate the proudest moments of your career.”

Yeah, it’s ignorant. That’s part of the film industry too: ignorant people. All types of people really. Cynical smart people. Silly dumb people. Hardworking assholes. Lazy nice guys. Easy going know-it-all’s and unrelenting geniuses. You can expect not to get along with everyone on set. That’s OK, as long as they aren’t in your department. In every department, a crew that gets along is better. They can anticipate, acknowledge, and act with so much as a look. You can expect to work with crews where that happens naturally and others where it seems like it was never meant to be – like a couple ballroom dancing for the first time and finding out if their natural rhythms are in sync or not.

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All of these expectations, commitments, responsibilities, and duties are part of becoming “the reel deal” – in other words, a professional. Though I have tried to in this ebook to help you get your foot in the door and adopt the title, after that there’s still a lot of work to be done. Getting your first jobs are a huge milestone, but only the beginning. You’ll still have to show up on set and kick ass to prove you were the right man for the job. But if you’re as committed to the work as you are to getting it, then you’ll be fine. There’s nothing easier than impressing crew when you are truly passionate. Why? Because the expectations of crew are already so low. Many came before you, worked with them, exchanged phone numbers, and never got a call again.

“If you’re as committed to the work as you are to getting it, then you’ll be fine.”

But they werent the “reel deal.” You’re different. You want it. You need it. It’s yours to take. The crew desperately want you to be good at what you do – to be “the reel deal” – so they can put you on their list and have “the perfect person” for that next job.

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Oblige them. Give them what they want. This industry sniffs out phonies in a heart beat (trust me, I’ve worked with them) so don’t even try to fake it. But the hard workers, the passionate crew, the ones willing to learn and get better – they are the real deal. And they aren’t going anywhere anytime soon.

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Thanks for reading Do you want to learn more?

Congratulations, you made it to the end! Do you feel like “the reel deal” yet? I hope so. If not, I’m sure you’ll get there in no time. Just keep pushing yourself forward and constantly improving your skills. One way to do that is to continually discover new tips, tricks, and techniques. Over at The Black and Blue I give away a lot of information about what it’s really like to work in the film industry and how to be successful in doing so.

Connect with Evan Twitter Facebook Google + YouTube

And I’d love to see you there so I can teach you more about filmmaking.

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So please become a fan on Facebook, follow me on Twitter, circle up with me on Google Plus or subscribe via RSS so I can help you become a better filmmaker.

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Check Out These Great Resources Of course I’m not the only one who knows filmmaking. There are many amazing resources to learn more about the film industry and how to be successful in it. Here are a few of my favorites: • The Camera Assistant by Doug Hart • The Camera Assistant’s Manual by David Elkins • The Filmmaker’s Handbook by Steven Ascher & Edward Pincus • The Production Assistant’s Pocket Handbook by Caleb Clark • In the Blink of an Eye by Walter Murch • American Cinematographer • No Film School • Fresh DV • Self Reliant Film • Cinematography.com • Roger Deakins Online • So You Wanna Work in Movies? For a more comprehensive list of recommended resources, check out this list of 100 Great Resources and 100 More Great Resources.

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Please Help Support The Black and Blue! Click any of the buttons below to share this eBook:

If you found this eBook helpful and entertaining, please share it around and support The Black and Blue! This free eBook is the collective result of hundreds of hours of work and many sleepless nights. I worked very hard to make sure it was full of helpful information and beautifully designed. I hope that comes across in the 100+ pages you’ve read. While I do not ask for money for this eBook, I do ask that you send it on to friends, family, crew, and anybody else you think might benefit from it. I want this eBook to end up in the hands of as many people who need it! So if you’re feeling generous, please click one of those buttons above and spread the word on “Becoming the Reel Deal” – thank you in advance!

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One Last Thing... I’ve always been a little miffed at the film industry’s walled garden of secret practices and inaccessible work. For whatever reason, learning what actually happens on a film set is tough to do for the masses. That’s why I started The Black and Blue and why I wrote this eBook. I believe in the collaborative medium of film and that more minds contributing is better for everybody involved. I want to sincerely thank you for reading this eBook and supporting that mission. When I started The Black and Blue a few years ago, I had the feeling there were others out there who had a passion and desire for filmmaking just like me, but my website has exploded to a level I never imagined – all thanks to you! I know that without you, none of what I do would make so much as a ripple in the pond of life. So thank you for reading. Evan

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Photo Credits Creative Commons Images

Many of the beautiful images in this eBook are licensed under the Creative Commons license. Here is a list of the talented photographers who made them available: Page 17: Mr Martineau Page 18: John Brawley Page 20: John O’Nolan Page 24: Vancouver Film School Page 26: Sean Davis

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Page 31: epSos.de Page 38: Yusmar Yahaya Page 48: Mark Taylor Page 49: Kurt Thomas Hunt Page 51: Crawfish Head Page 59: Mark Sebastian Page 61: Sadie Hernandez Page 62: Andrew Borgen Page 65: Nick Ares Page 70: Martin Wippel Page 74: Thomas Duchnicki Page 76: Daveynin Page 78: Hey Paul Page 80: Justin Holzworth Page 83: B. Rosen Page 84: Stuartpilbrow Page 86: Ken Teegardin

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Page 89: Ken Teegardin Page 90: Mamnaimie Page 95: Xlibber Page 97: Turinboy Page 104: Veronique Debord Page 110: Bingbing Page 113: NASA Page 114: LordFerguson Page 121: Vancouver Film School Page 124: Jai Mansson Page 126: Jai Mansson Page 131: Rob Mercier Page 132: Casey West Page 134: Mark Sebastian Page 140: B. Rosen Page 144: Karen Roe Social Media Icons: Design Modo

Images not listed here are author’s own or used with permission.

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