How to get on Credits

Shiloh Arts

Shiloh Arts

Well-known member
Hi folks in the industry!

I worked on a major feature film as a PA for little over a week, and I was placed on the call sheet in all the times worked. Nevertheless, I assume that I will not have my name placed onto credits only because seniority rules. However, my question to the best and brightest is, is this a correct understanding, and if not how then does one get onto the credits? I was told that since placing people on the credits can become so expensive the film studios are more selective.

I figured I just ask the question to the pro's out there to explain to me the process just as an FYI for myself not as a complaint.

Thanks for your time. :thumbsup:
 
A decent production will list all crew, including the PAs. Your mileage may vary, though.

It's important that you keep your call sheets - it can demonstrate your professional growth when you are trying to get more specific positions.
 
Shiloh Arts said:
I was told that since placing people on the credits can become so expensive the film studios are more selective.
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Yeah. Typing those letters into the list would probably cost...well...nothing extra.

They were probably talking about folks who, due to contractual or guild/union reasons, have to be paid more if their name is up there.

You? Nah. They should put your name up there. :)
 
Working on anything doesn't guarantee any credit whatsoever. I've worked on several high end BBC Dramas and havn't been credited and I know other Steadicam Op's who have worked on some serious big budget movies and they haven't been credited for the work they've done.

Rich

www.steadicams.com
 
Wow! Great response!

Ya I couldn't imagine there to be really that much of a problem to credit even PA's. I did have to sign an agreement stating I'm aware that though I've worked on the film I must get approval in order to be placed on credit's. So my guess was that union PA's (if there is such a thing) only get on.

I mean don't get me wrong being credited for a feature film is awesome and can be great for your career, but I also believe that the experience you had can also out way any meezly credit.

...any one else have any thoughts? :shocked:
 
steadicamsteel said:
Working on anything doesn't guarantee any credit whatsoever. I've worked on several high end BBC Dramas and havn't been credited and I know other Steadicam Op's who have worked on some serious big budget movies and they haven't been credited for the work they've done.

Rich

www.steadicams.com
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That's a bunch of bull ****! Not you but the phucken production companies! sorry but that just really pisses me off! The production companies I used to work for always credits me even when I don't want to credited. They even credit the dudes who washes windows. Dosen't hurt to really type in a damn name. Bastids!!
 
I've worked on BBC's Drama "Sea Of Souls" and ITV's Drama Series "Wire in the Blood" with no credit. John Ward who's been in the business for over 40 years now has had a few:

Sleepy Hollow (1999) (steadicam operator) (uncredited)
Jack and Sarah (1995) (steadicam operator) (uncredited)
Highlander (1986) (key steadicam operator) (uncredited)
"Edge of Darkness" TV Series (1985) (steadicam operator) (uncredited)

I could go on but my point is even if you have a serious Track Record like John's doesn't guarantee your name in lights. At the end of the day, YES it would be nice to be credited for a job well done but it's not the be all and end all really, is it?
 
There you go. The studios and MPAA are crying wolf when you copy a song, even 'acceptable use' requires that you credit your sources, but they are perfectly okay to not include working professionals on a credit roll.

As I said, I think a decent production will include the whole crew. For me, it's about principle, rather than money or fame.
 
I don't know about other productions companies.

But in the independent budget realm, end credits just the black background with white letters that roll up is about $500 bucks a minute, talking about film here not video.

To me it's not that much money to give everyone their due credit they deserve.
 
XCheck said:
There you go. The studios and MPAA are crying wolf when you copy a song, even 'acceptable use' requires that you credit your sources, but they are perfectly okay to not include working professionals on a credit roll.

As I said, I think a decent production will include the whole crew. For me, it's about principle, rather than money or fame.
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It's interesting to see the levels of misunderstanding with regard to the film industry.

Rich is quite correct, a rolling credit is not a given, it depends on many different factors.
The first among them is which union or guild you're a member of, and how it has negotiated the many details for their members. A PA for a week isn't going to see their name anywhere, it isn't going to happen, the postion is near the bottom of the food chain.

This is a business, a big business.
 
pookie said:
A PA for a week isn't going to see their name anywhere, it isn't going to happen, and the position is near the bottom of the food chain.

This is a business, a big business.
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Pookie, that's totally understandable...why should a PA get any credit they haven't put in their time to get. However, I do believe that PA's should and MUST have a union, even before their 600 days. (but that's another topic in itself)

As of now the PA work reminds me of Rockefeller in the early industrial revelation. When the people would fall off the scaffolds and die the foremen would simple say "Next?". Although PA’s need to put their time in order to see any benefit or even to get recognized in credits, I think that they still are the crucial part of a Movie Production.

Now, with all do respect to steadicam operators or any department for that matter, if you want a smooth shot you have multiple ways of getting it down. However, if you need a controlled look in order to get that perfect shot, PA's are basically the only one's who will orchestrate it for you (or maybe an expensive detailing of cops).

I think XCheck's point is that all should be recognized in a MAJOR production. This is only because they have the money, but are to unwilling to spend it.

O well…I guess you have to put in to get in and know to show. :cheesy:


Keep up the good work everone...one day it will pay off!:thumbsup:
 
"As of now the PA work reminds me of Rockefeller in the early industrial revelation. When the people would fall off the scaffolds and die the foremen would simple say "Next?"".

LOL....:huh:
 
It's true though. A lot PA's have film school to pay off and have to hustle in order to make ends meet and their not even guaranteed work on every project. If the head PA likes someone else for any personal reason then he/she is hired for that day. Meanwhile, the other hard working PA's have to scrounge for beans else where. :huh:
 
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