looking for any suggestions or experience/ background from either the renter or rentee’s perspective. 

Thank you, and wisdom to shooting in this region is also appreciated. 

The specific region I want to shoot in is the Piedmont region. 

I recently moved to LA (trying to pursue either Camera Assisting or DIT work) after doing the equivalent of those jobs in Colorado for about 3 years.

I don't have very many contacts out here so I have been trying to figure out the best way to get connected other than seeking out work in rental houses (which I am pursuing as well). My question is about the appropriateness of cold emailing/cold contacting. I emailed a DIT that I follow on instagram (used the email he had on his website) asking if we could maybe meet up sometime and got the following response:

"First rule, most folks in the camera dept don’t like cold emails. Tends to leave a bad taste. Try a different route or try commercial folks or agency’s as a PA. If your interested in the camera dept then try to setup an appointment at Local 600 to learn what you can. Most my features are out of the country these days so I will be of little help."

After reading back over the email I sent him it did seem like I was asking for a job on the next feature he had.

Is cold contacting people a big thing that you shouldn't do? I do understand most people are not to keen to share their knowledge with some random person, especially out here.

My intention is not to ask for jobs but simply to hear stories and experiences from people who are doing what I am aiming to do. Is their a better way to go about this other than cold emailing? Or do I just need to word things better?

I want to know if this is a problem-free site

I recently have been getting into this as a career. I am based in Vegas, so production work is a little slow; my long-term goal is to become a cinematographer for documentaries and films, but currently, I am trying to make ends meet and upgrade gear. I have taken on some event work. Videography jobs for some small events, corporate shoots, and online courses. It's not the "dream work" or the place where I have the most artistic control but I still try my best to give the clients the best work possible.

This side of my freelance has been growing as I get recommended to others, and it seems I am starting to gain ground on a videography job. I am working with a friend to create passion project films, as Vegas is pretty dried in the indie film corner. Very rarely do we have films made by people who haven't traveled in the crew, or there are usually people with much more experience being picked up.

Is there any advice on balancing the need to make money and building a career with a body of work that could get into more features and documentaries? Should I separate these bodies of work to create an altered identity, reel, and portfolio for events and then one for more "artistic" work?

I really don't want to do event videography for the rest of my life. I love being behind the camera and creating images; I hope they will last. Any advice is appreciated, and I wish to learn how to balance these two seemingly very different worlds.

Can't seem to find another sub forum to post, so I decide to post here.

As you all know so many segments/scenes in movies, TVs, music videos, etc are shot on a set that's newly built rather than a real location, and it isn't hard to imagine that this industry usually needs to work fast and fast turnaround so no time to waste.

But aren't such recently-built places maybe releasing anything harmful? VOCs? Formaldehyde? (Don't know the exact English vocabs, but you get the idea). Maybe the wood material, prop furniture...or maybe the abundance or glues under those. And frankly, some low-cost LEDs and their soft box/grid are emitting awful odor...All of the above must be something if they present a health threat, I guess if not handled correctly?

Is this a big concern to our health? Or maybe there's no such thing I just described? Or is it just something that sucks but sth we have to deal with in our life like many other things?

I'm from a 3rd world country. I've been to the 1st world  but never worked in this business there. So I wonder what it is treated there. It's really hard to find any feature movie that's a 100% location shoot so wondering what Pros do to prevent...

Again English is not my 1st language so excuse me for any mistakes or stupidity.Any response is appreciated!

• Common rules for general and selective aid for the production of feature films on projects in Spain.

• General aid for the production of feature films and short films on projects in Spain.

• Selective aid for the production of feature films on projects in Spain.

• Aid for the production of short films in Spain.

Discover grants for Cinema in Spain

• Common rules for general and selective aid for the production of feature films on projects in Spain.

• General aid for the production of feature films and short films on projects in Spain.

• Selective aid for the production of feature films on projects in Spain.

• Aid for the production of short films in Spain.

Discover aid for cinema in Spain:

camaleonrental.com/gb/blog/grants-to-the-spain-film-industry-general-and-selective-grants-for-feature-films-short-films.html

When I say decent res, am looking for something that does not look too pixelated on big screen TV.

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NYC 2016

(Red or orange filter ~ Kodak monochrome sensor.)

D.D.Teoli Jr. 

Daniel D. Teoli Jr. Archival Collection
Daniel D. Teoli Jr. Small Gauge Film Archive
Daniel D. Teoli Jr. Advertising Archive
Daniel D. Teoli Jr. VHS Video Archive
Daniel D. Teoli Jr. Popular Culture Archive
Daniel D. Teoli Jr. Audio Archive
Daniel D. Teoli Jr. Social Documentary Photography

More here: https://www.camaleonrental.com/gb/blog/grants-for-the-production-of-other-audiovisual-works-in-andalusia-film-grants-in-andalusia.html

Has anyone produced a film before and gone through the process of officially licensing a contemporary copyrighted piece of music into the final cut? It's so hard to track which label owns what artist's catalog nowadays, as well as getting a response from them in general feels like a struggle.

If we have songs from multiple different labels, is there some kind of licensing agent who can communicate with the labels on a filmmakers behalf to acquire licensing rights to music easier?

Thank you.

Additionally, I have encountered some difficulty in obtaining clear answers to my inquiries when contacting Local 600 directly. Specifically, I sought clarification on how to structure the description of my references, but the responses I received were somewhat dismissive. Therefore, I would greatly appreciate any insight or assistance from others who may have a better understanding of the requirements and expectations regarding reference descriptions for Local 600 membership. Thank you for your help and support.

What has your experience been working for California-based production companies since AB 5 went into effect? Will they still hire you through your loan out or do they put you on payroll?

To clarify I am not asking how to get acquired by Netflix.

What I am asking is once acquired by any of these streaming services, how exactly is the money handed out to the creators? Will some contracts pay a penny per stream? Do they give you a flat fee outright for X-time of usage? How does the negotiation work for a small producer vs a larger company?

I worked on a film that got on Amazon Prime video once, however it seemed to just be a pay-per-view thing as opposed to actually being in the streaming rotation for a prime subscription.

Any experience or insight on this would be greatly appreciated because google isn't giving clear info.

https://travel.nbcuni.com/accordion/airline-media-bags-pricing

And you know what?

Film and TV has long been an absolutely horrible employer, at least since the contractorisation of more or less all crewing. It's right up there with the most notorious boogeymen like fashion, it its enthusiasm to rapaciously exploit near-helpless young newbies. Borderline-illegal employment practices have been allowed to run rampant, from straightforward nepotism to open-secret initiatives to create closed shops by the back door. Entry involves months - probably a year or two at least - of employment at almost-illegal wages, in expensive cities with not even the hint of recognisable qualifications or employment at the end of it. At worst, it can involve taking the casual abuse of more senior people who know they can get away with it. Not seen it? Try being a new, female, grip or electrician. It's practically hazing, and it's hard to tell whether they really mean it or not. Your average five-foot-one, 105-pound school leaver would certainly be forgiven for taking it personally in the locker-room atmosphere of a film crew lunch break.

And let's not just make this about the more overtly tool-belt-wearing parts of the profession. Post-production houses are notorious for hiring minimum-wage people on zero-hour contracts to fetch takeaways for the better-paid with, generally, zero prospects of meaningful advancement. When the awkward questions about a step up the ladder begin, there's always another offspring of the wealthy who can crash in the family's Kensington apartment for a few months while they work out how comprehensively they're being screwed by a company with a nine-figure turnover.

Whether or not it was ever the producers' problem to clamp down on this sort of thing (and make no mistake: it was), the production office hardly comes off looking blameless. Training has long been perpetually someone else's problem. With a few exceptions, producers and other employing entities, such as rental houses, expect people to just somehow be available, and are rarely asked, and practically never required, to contribute anything to any sort of official training. I know this because I've done it; even on the small stuff I've organised, I have on two occasions been pressured to find some money to pay for a very new person who was acquainted with the focus puller. I did it because someone has to, but financially, that probably just makes me the idiot (I don't do it any more because the stuff I organise is generally not sufficiently like a real shoot for anyone to learn anything useful, but that's beside the point).

For a long time, the requirements for crew - again, particularly in the UK - were so low that it barely mattered, and these deeply unpleasant, catastrophically unreliable arrangements were somehow enough to train new people. Since it became clear that wasn't going to keep working, there have  been a couple of very small scale initiatives to try to regularise things, though almost any of them could be characterised as an attempt to control the labour market. One organised by a big UK rental company does deserve calling out as a high point, but in general, it hasn't been nearly enough, hence the desperate situation we're in now.

And as ungenerous as it is, I'm not going to be able to get the smile off my face for a week.

Whether you’re working on a documentary, hip-hop music video, social media ad or anything in between, remember that if you’re going to be recording people, make sure they sign a model release form. This basic-but-crucial step gives you permission to use footage of that person, control over what you can ultimately do with the final product and peace of mind that you’re protected from unwanted future lawsuits.

In June 2018, I decided to service and rehouse my Lomo anamorphic square and round front lenses, so I personally contacted Van Diemen. Christopher at Van Diemen stated the average turn around time is 90 days for Square front rehousing (V2 version).  He also stated that Round front servicing will take longer.  Based on this information, I shipped the square and round front lenses to Van Diemen.  

Round Front lenses were returned 11 months later in May 2019 and according to Van Diemen they were fully serviced.  However, one lens was never serviced as it looks identical to before shipment to Van Diemen and after receiving from them. (I'll discuss that topic in a different thread with photos for proof) 

35mm Square Front

20 months later, my 35mm square front is still in Van Diemen's possession. 

****************************

Please read below:  The excerpts are from actual email communication between myself (Adnan Siddiqui) and Christopher (owner of Van Diemen) 

2018

June 7 (Month 1):  Adnan -  What is the conversion time from receipt of my lens to completion? I have a Lomo 35mm Lomo Square Front 35BAC10-2-1 

June 18 (Month 1): Van Diemen - ....we aim to deliver conversions in 90 days from agreement of terms and receipt of deposit.  

July 4, 2018:  Lenses received by Van Diemen.  

July 6 (Month 2):  Van Diemen - The time to do this work is estimated at 90 days from receipt of PO and deposit payment. 

September 10 (Month 4): Van Diemen - ....we have parts in stock or arriving this week for the Lomo Square front conversions 

October 31 (Month 5):  Van Diemen - We about to start on the assembly of the first batch...We would hope to be delivering these in purchase order sequence during November.

2019

January 10, 2019 (Month 10)  Van Diemen - The 35mm lenses...will all be assembled in sequence yours is no 9 on the list.

February 5, 2019 (Month 9)  Van Diemen - The position with the Square front lenses....We should have them all done by the middle of March.  Your order was 17th in the order book 

March 8, 2019 (Month 10): Van Diemen - The Square front Total Conversion is on the bench ready for re assembly, but will not be ready for a while longer. We have had to make some on assembly modifications....These problems have now been resolved but we have been delayed whilst new parts were awaited I will let you know when your lens is nearing completion. We do still have 7 lenses ahead of yours to build.

March 26, 2019 (Month 10): Van Diemen - Your 35 is now 5th in lens for assembly.

April 2, 2019 (Month 11): Van Diemen - With regards to your 35mm we have all components picked and ready for assembly. 

April 4, 2019 (Month 11):  Adnan - I've decided to cancel the order because this is unreasonably a long wait.

May 17, 2019 (Month 12): Van Diemen - Your lens has been prepared for conversion and parts allocated it currently is no 18 on the assembly list.

May 17, 2019 (Month 12): Adnan -  Back in Feb I was #9, then I was #5. Why I'm #18 now?.....this is too confusing. I wanted to cancel my order......there is no consistency.

May 20, 2019 (Month 12): Van Diemen - We have had some technical problems to resolve in developing the total conversion of the Lomo SF lenses. 

May 28, 2019 (Month 12): Adnan - At this point, I do not wish to get a converted lens due to the design problems. You can do a simple PL conversion and send the lens back 

July 1, 2019 (Month 14): Adnan -  Christopher what is the status of my lens and I did not wish to proceed with the conversion just a PL mount. I inform you that a month ago

August 15, 2019 (Month 15): Van Diemen - None of these simple conversions  of which work well reliably. 

1. Do we rebuild your lens as it was- this is costly in time  . Who is going to pay?

2. Do we ask you to reconsider your decision and have the work, we contracted to do for you, completed.

August 19, 2019 (Month 15): Adnan - I want to have 35 mm converted but this is beyond reasonable. 

August 20, 2019 (Month 15): Van Diemen - ....we have now resolved the teething problems with the product and expect to catch up on the deliveries.

September 16, 2019 (Month 16): Adnan - There is still no timeline provided for the service completion

October 21, 2019 (Month 17): Adnan - I've been waiting for the V2 for almost 1.5 year.  What is the delivery time for V2? 

October 22, 2019 (Month 17): Van Diemen - Your Lens remains in exactly the same place in the assembly line as it did in the beginning…..assembly time is now about 2 weeks 

November 2, 2019 (Month 18):Van Diemen - As soon as you confirm the order for a V2 conversion of your 35mm lens we will load the job...

November 6, 2019 (Month 18): Adnan -  For the 35mm, I had agreed since last year. What do you want me to confirm? Has anything changed?

December 1, 2019 (Month 19) Adnan - I have not heard back from you in a month.  I want to get my lens back.

December 2, 2019 (Month 19): Van Diemen -  The price quoted for this V2 conversion  is £ 5950.00 This quotation will expire at the end of 2019 the prices for 2020 will increase.

December 5, 2019 (Month 19) Adnan - I've sent you multiple messages between October and November but did not receive a reply from you. V2 for square front. This was agreed upon in July 2018!!

****************************

20 MONTHS LATER (JANUARY 2020):  No response from Van Diemen.  Lens is still in their possession.  

Thanks!