Working on a Major Film: Tips and Advice?

xyouthx

xyouthx

Well-known member
Hey there, Been on this forum for 4 years, and I'm graduating from the University of Cincinnati in just two weeks, from the Electronic Media division with a BFA.

I've been making bmx films since I was 16, and for the past two years have really gotten into doing a lot of narrative stuff. Went from a Hi8, to a Sony TRV950, to a Sony VX2100, and now my HVX200. I put about 250 hours on it in a year, and show no signs of slowing down. I love to shoot, I love to create a frame, a composition, to reveal and tell a story, and I am like many here I'm sure.

I plan on staying local atleast for the summer and work as much as I can. My other passion is auto motorsports, and it's an expensive hobby. So, I'm hoping to bust my ass all summer and have the chance to make some extra cash to enjoy my car for a little bit.

So far, I have a few freelance things lined up, but nothing major, nothing steady, but I haven't tried as hard as I can yet, since I'm wrapping school up.


It's always been a dream of mine to work on a major motion picture, such as a Marvel Film, a drama, action, comedy...anything. I know that I want to someday work my way up to being a DP, and I don't know how realistic it is to hope I can someday become a member of the ASC, but I will give it everything.

My question is, realistically how possible is it? I know it just takes a connection to get into a major studio, but how realistic is that? I have a lot of experience behind my cameras, as well as grip experience, but no experience working with film. Aside from the obvious advice of "well get experience with 35mm", what else can I do to help get my foot in the door?

I'm not worried about getting rich at this point in my life, but I do have 50k in student loans to start paying back, so getting paid is a factor unfortunately. But getting to be an A/C or anything close to it on a major film would be a dream come true.

I have a friend in LA whom I could stay with if I ever got the opportunity, I'm just trying to figure out the best way to reach my goals.

Any/All advice from elders, those who've been there, who are there, and who are in my position, please give me advice.... I'm all ears!!!
 
Don't think about being a grip, electric, or an AC just yet. It's going to be a while before you get to that point. At least on a major film.

Just make some friends and try and start PA'ing. The only thing you need to be a production assistant is a brain and hands. From there you can start making friends, then eventually get in the union. While you're working as a PA though, it's always good to try and get on some lower budget stuff as a grip or AC. That way you can see how the big guys do it and give it a shot yourself on things that aren't quite as important. Not to say that any production is less important than the next, but I dunno, you know what I mean.

You can also try and get a job at a rental house. If you're going to be an AC, or going to be an electric or grip, you should know how everything you use works and you should eventually know how to fix it. Working at a rental house will introduce you to a bunch of people who work constantly in the area, and heck, if they see you on set you'll be "that rental house guy" and you'll immediately get a bit of trust from them. I've realized it doesn't really matter if you can do a job or not, but whether or not someone will trust you to do that job.

As far as how realistic it is, it's pretty frickin' realistic. Anything is realistic. You could easily become a member of the ASC if you wanted it bad enough. You just have to work incredibly hard and always learn from your mistakes. Next thing you know you'll be rockin' out with deakins and khondji.

So yeah. Get on it.
 
RyanT said:
You could easily become a member of the ASC if you wanted it bad enough.
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In my experience, that's the defining characteristic of the people I know who make it. How bad do you want it?

Your answer should be "above all else."
 
Cinematographer. It's a tough road to follow because there are so many routes to get there... Very often, you can't tell which route is the highway, which the traffic jam, the detour, etc.

It's about four things: knowledge, attitude, talent, and luck.

You can control 3/4, and I suggest you do.

Best,

-Ryan
 
it's a long and arduous process and you definitely won't get there overnight. most people start out small, and work their way up - like you said. but really, I think that the whole preconception that it takes more luck than skill can be misleading. I'm friends with a couple people who've made it in the industry (my friend's uncle is david wasco, quentin tarantino's lead production designer) and they say that making it in the film industry comes down to one thing: making a good film. every single one of them has told me that making it in hollywood or film in general comes down to one thing, and that is being able to make a good film. it's simple. make a good film, and the rest will be taken care of.

now of course, they're probably a bit biased because they're already in the industry and of course, making a good film is easier said than done. but the idea is right, I think. work really hard to make good films, and eventually, you'll make it. if you make good films.
 
This is one quote I think has helped me through some of the bad times, just because of how true it is...

"I'm a great believer in luck, the harder I work, the luckier I get."

Some people get lucky early on in their careers, others have to work a little longer and a little harder to get their luck, but for everyone that wants it, it'll come.
 
Ummm honestly. just BE a DP. Go shoot.

LEarn as you go. BE a 1st AC while you shoot student films/Indies for a couple years..., but constantly shoot, then ween yourself off the 1st AC racket. you will learn by apprenticeship, and by trial and error.

Worked for me.
 
TimurCivan said:
Ummm honestly. just BE a DP. Go shoot.

LEarn as you go. BE a 1st AC while you shoot student films/Indies for a couple years..., but constantly shoot, then ween yourself off the 1st AC racket. you will learn by apprenticeship, and by trial and error.

Worked for me.
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yeah that's the wonderful benefit of having my own camera, is that I'm constantly shooting atleast once a week, hopefully more...

but I'm just limited to being a badass on my own camera, I'd like to learn the major toys so that I'm more marketable on larger productions, which is what I'll strive to learn.

thanks!
 
On a good note you are putting yourself out there in front of everyone...letting them know you are alive and ready. Networking is a big key and letting people know you are available to work anywhere in the country is a huge plus. Keep networking. Never stop.

Plenty of independent filmmakers are looking for you.

You also have to be a bit choosy about what you work on. You never know when that great independent filmmaker with a great script will come across your path...and you always have to be ready.

Even if you don't like what someone has offered you you must always find out where they are headed next. Their next stop may be somewhere or nowhere...but you have to find out and grab the right opportunity.
 
^ another relevant aphorism: Be careful which toes you step on today; they may be connected to the ass you'll be kissing tomorrow.
 
xyouthx said:
yeah that's the wonderful benefit of having my own camera, is that I'm constantly shooting atleast once a week, hopefully more...

but I'm just limited to being a badass on my own camera, I'd like to learn the major toys so that I'm more marketable on larger productions, which is what I'll strive to learn.

thanks!
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Camera honestly matters so little its crazy.

Learn lighting. Look how more experinced DP use the lighting and grip packages. see how the different types of dffusion, scrims, Cookies, cutters, and lens filters effect the image. Also pay close attention to lens length, height, positioning, and the way in which coverage is done when you 1st AC.

A DVX, TRV900, HVX200, GEnesis, can all look good is you light it correctly.

BUT!
even more important than that is learning to be a manger of the crew. The DOP is essentially the Department head of the entire set. All G&E, Camera department and to some lesser extant Art department. You have to learn to be a leader, and make critical descisons that have monetary loss as a consequence. you are working for someone and spending their money. Spend it wisely and get them the most for their dollar.

there is a reason on bigger sets, the DOP never even touches the camera. He has operators, focus pullers and a loaders. he tells the crew what he wants and can focus on the monitor and guide the his crew to get the job done efficiently. This is the reality of a DP. Few DP's operate camera.
 
Good Point, Timur. More important than having a camera, is knowing how to manage a crew and work with the director and producer. You and your crew will be under a great amount of pressure as you try and make tight schedules at the same time trying to do good work. Your ability to lead and manage a crew, work with all personality types and work and communicate well with the director, 1st AD and getting what you need from the line producer are critical to the success of a production. A good reel is important, but its only part of the reason most smart people will hire you.

EDIT: Having your own camera is good if you're just getting started. You can go for those low budget jobs where people are looking for a cheap camera rental with operator and build up a reel pretty quickly like you're alrady doing.
 
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Great advice everyone.

Especially Timur's: Just go shoot. That's the hardest part but once you start doing it and you keep doing it, you'll move along.

Geoff Reisner, man. That guy is a BEAST behind the camera. He doesn't worry about gear, he's just always off shooting SOMETHING for someone. Staying busy, learning, etc.

I swear he shoots a few projects every week or something, it's insane, and it pays off. His work is excellent and now he's being invited onto feature productions.
 
man I'm psyched that so many people are chiming in here. there' s a few things that I've never heard, that I'm glad I have.


keep it going!
 
And always try to improve what you shoot. Might seem like common sense. But I know at least two people that "DP" everything they can get their hands on. And it always looks bad. But they think they are the best DP is existence.

If you see something that looked funky in the dailies for a production you shot, try to figure out what went wrong. Look at your lighting setup from that day and try to see what you could have done different, and fix it the next time.
 
Look around for local feature productions and ask if you can intern for them. I recommend interning for grip or electric instead of camera, PA, or art department. Camera interns (in my experience) just set up the video monitor and controlled video village. That's no fun and won't help you become a DP. Electrician and grip interns work as if they are being paid so they learn their way around all of the equipment.
 
Drew Ott said:
Look around for local feature productions and ask if you can intern for them. I recommend interning for grip or electric instead of camera, PA, or art department. Camera interns (in my experience) just set up the video monitor and controlled video village. That's no fun and won't help you become a DP. Electrician and grip interns work as if they are being paid so they learn their way around all of the equipment.
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hmm, that's a new one as well. I mean, it won't get me the experience around the camera that I'd like, but it definitely helps you become a better shooter, so thanks!
 
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