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Need guidance for my career transition, anyone can give me some advice? [Desperately]


Samuel Lu

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Hi, everyone, I'm new here, I heard Roger Deakins said in his podcast :"a guy asked me he is in his late 30's and he is a still photographer, he want's to shoot features... What would you recommend? " Roger said " I have no idea how you gonna do it." 

Yet here I am asking the same question...

I guess the guy who asked Roger probably in the same situation as I am, I was a still photographer in my 20's, had been doing it for more than a decade. Now I am in my late 30's, and I want to transition my career to cinematography.

I know this industry heavily relies on network, which I know no one as a 1st Gen immigrant who speaks broken English.  I know it may sound like a pipe dream, but for me, I just cannot afford to let go this dream ever since I was a very young kid. I just didn't dare to dream about it back then from where I came from, but I promised myself someday I will make a feature film, maybe when I am 50 years old. As I get older, the filmmaking calling in my heart gets louder... If I don't start it soon, it will fly away from me

Now, I am in a position which is very awkward, I don't know how am I going to start it, I know for sure that I will be a  good learner since I have the still photography experience, I need an opportunity to have a foot step into the industry.

My thought is limited by the language, I can't express how much I love filmmaking/cinematography. If you can help me to give me some advice, it would be very much appreciated!

 

Attached some of my work here.

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and more on my website: samuellu.me

 

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if having still photography background I would investigate the possibilities to shoot small commercials and music videos first. They are short projects and rely heavily on making people and products look beautiful which you already know how to do as a photographer. You just need to start with something small and build your experience and reel from there. After a while you can shoot short films more confidently (I would concentrate on the about 5 min short films first) and from short films it should be possible to gradually transition to indie features.

Just make sure that the first projects are ones with easier schedule and that you have time to prep carefully so that you know how to block and light the scenes. You need to be able to solve problems on the fly and to keep up with the schedule. I would concentrate on the cinematography on these projects and would have a gaffer and a key grip who already have experience working on such projects so that they can help you with the gear and working methods which differ a lot from the stills photography 

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my reasoning is, you are used to tell a story with a single image when working on photography. Now you will first need projects where you will combine couple of images to tell a smaller story (commercials are ideal because they need to be short and you generally only have those couple of images to tell complex things and emotions) . Music videos usually have couple of simple scenes stitched together with no dialogue and are easy to shoot and edit so they are equally useful as a learning tool. 

So you have started with a single image in the past, now you will continue with from 3 to 8 images combined together to tell a story. After that it is easier to use 20, 30, or 50 images and more complex scenes and storytelling. This is where the cinematography differs a lot from the stills photography: the connections between the images are much more important than a single image itself and the dynamics tell their own story as well. The images are not "single enclosed entities" like they are in stills photography where the whole dynamics are built into a single image to compress the whole story into a single shot

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Your work is great, but I agree with Deakins, it's not easy to make that transition these days. 

The biggest problem is the competition. Due to the democratization of filmmaking thanks to digital technology, some random guy can forgo buying the fancy car and instead buy a real cinema camera and get crazy amount of work, just because they have the camera. They don't really need much talent, but they will learn fast what works and what doesn't because they'll be put with creatives who can direct them. 

The hard part with cinematography is creating consistency from shot to shot, scene to scene, both in lensing/composition and also lighting. Using color, camera movement, focal length and framing to relay the emotion of a given scene. You also don't get 100 tries to get it right, like you can do with stills and fashion work. Na, you get one chance, MAYBE two. So the skill is entirely different really, you have to show up to set with a very well thought through game plan and execute no matter what. Even if your plan falls through, you need to figure out a backup plan with a few pieces of duct tape and a bed sheet. I know... I've done this SO many times. This is what really separates photographers who generally shoot thousands of images to get maybe two or three that are worthwhile vs Cinematographers who MUST nail it in their heads before setting up the camera AND THEN, have to nail it in the camera on the first go about. 

Quite a few cinematographers/directors started out as Photographers, it's quite common. So the path does exist. I just fear in todays world, it's harder than ever to do a "job" on a film set. To be successful enough that you can pay your bills via your creative work, takes SO much energy these days, many people resort to doing commercials, industrial films and music videos. Surviving off Narratives only, seems like such a far off dream for anyone in this industry, even the top guys. With that said, if all you wanna do is have some fun and work on a few low budget productions to get your feet wet, that's not difficult to do. You will have to network a bit to find people who need the work, but it's very possible. That's how I shot my features, I just was at the right place at the right time. The bulk of my work however, has been everything BUT narrative. Ya gotta pay the bills when you're a creative, so it's been mostly industrial films, commercials, music videos, documentaries and such. Still a lot of fun, still creative and great product, but yes not narrative features. 

Due to these issues, I've personally branched away from being a DP only and focus more towards the director aspects of things, mainly because there are so few projects I have interest in being a part of, might as well just create my own productions. 

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16 minutes ago, Tyler Purcell said:

The biggest problem is the competition. Due to the democratization of filmmaking thanks to digital technology, some random guy can forgo buying the fancy car and instead buy a real cinema camera and get crazy amount of work, just because they have the camera. They don't really need much talent, but they will learn fast what works and what doesn't because they'll be put with creatives who can direct them. 

yes there is lots of persons competing with gear, especially in the town I live in.  The issue is, by just buying expensive gear and "starting shooting stuff" this way and learning on the fly means that one is just copying what everyone else is doing and just does stuff "in the way that works for everybody" so they don't have their own style or voice and thus they are replaceable whenever the producers find someone cheaper who has newer and more expensive camera to show off.  

I actually just 5 minutes ago turned down a indie feature because I had a bad feeling about them not appreciating my style and experience enough and them being mostly after cheap gear (but my camera is not the newest so they were not happy enough about it). They used a relative newbie to shoot their demo for the movie and asking about it I got a bad feeling that they don't care enough about who shoots their films as long as SOMETHING is captured to finish the edit. This type of stuff is incredibly common so one has to be careful and especially not to purchase anything expensive for a single project so that others can exploit you 

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35 minutes ago, Tyler Purcell said:

Your work is great, but I agree with Deakins, it's not easy to make that transition these days. 

The biggest problem is the competition. Due to the democratization of filmmaking thanks to digital technology, some random guy can forgo buying the fancy car and instead buy a real cinema camera and get crazy amount of work, just because they have the camera. They don't really need much talent, but they will learn fast what works and what doesn't because they'll be put with creatives who can direct them. 

The hard part with cinematography is creating consistency from shot to shot, scene to scene, both in lensing/composition and also lighting. Using color, camera movement, focal length and framing to relay the emotion of a given scene. You also don't get 100 tries to get it right, like you can do with stills and fashion work. Na, you get one chance, MAYBE two. So the skill is entirely different really, you have to show up to set with a very well thought through game plan and execute no matter what. Even if your plan falls through, you need to figure out a backup plan with a few pieces of duct tape and a bed sheet. I know... I've done this SO many times. This is what really separates photographers who generally shoot thousands of images to get maybe two or three that are worthwhile vs Cinematographers who MUST nail it in their heads before setting up the camera AND THEN, have to nail it in the camera on the first go about. 

Quite a few cinematographers/directors started out as Photographers, it's quite common. So the path does exist. I just fear in todays world, it's harder than ever to do a "job" on a film set. To be successful enough that you can pay your bills via your creative work, takes SO much energy these days, many people resort to doing commercials, industrial films and music videos. Surviving off Narratives only, seems like such a far off dream for anyone in this industry, even the top guys. With that said, if all you wanna do is have some fun and work on a few low budget productions to get your feet wet, that's not difficult to do. You will have to network a bit to find people who need the work, but it's very possible. That's how I shot my features, I just was at the right place at the right time. The bulk of my work however, has been everything BUT narrative. Ya gotta pay the bills when you're a creative, so it's been mostly industrial films, commercials, music videos, documentaries and such. Still a lot of fun, still creative and great product, but yes not narrative features. 

Due to these issues, I've personally branched away from being a DP only and focus more towards the director aspects of things, mainly because there are so few projects I have interest in being a part of, might as well just create my own productions. 

Thanks for your comment, my friend. I know even the fundamentals are pretty much the same between still and cinematography, but the skill set is much different, as a still photographer, I understand when you said we took thousands of pictures then found 1 decent shot, I've done that when I dogs or children are my subject, coz the movements and emotions are very hard to be predicted. But whenever I shoot models, I only press shutter if I think that's the one.

I am not sure if I can do directing, since I have a really bad quality of interpersonal communication. I cannot express any of my emotions through words. I either bury them in my subconscious or express them from the photographs I shot.

I am inspired by Chloe Zhao, who won the Academy award best director and best picture, We are from the same country, I believe I have the heart to tell some story as beautiful as she did. I know I am being idealistic again...

I will go to USC film school, but not now, when I save enough money to afford the super expensive tuition fees, I will work my butt off to learn as much as possible, and try my best to accumulate a bunch of friends who have the same dream, maybe till then, I am already 50 years old, but I have promised myself. Possibly I will always be that naive young child.

------------------

add on

I know this is not an easy journey, that's why I didn't dare to dream about it when I was little. Actually, now is even crazier since I am in my late 30's, I got a family to feed, many responsibilities. From the moment I decided to do video stuff, I haven't made a penny yet, I am struggling, and also my family. I won't lie, it is very hard, it has been driving me crazy.

But that love of filmmaking (I like documentary too) I can not get rid of to be honest, I do admire the fellows who are round the same age as mine having a stable job or business, spend quality times with their family, I really do. But I just not that type of person, I have a sort of anxiety of the age... I don't want to live a life with regret, a big regret, that I cannot fulfill my passion. 

I am an extremely introvert, I feel very uncomfortable when I meet people I don't know, even worse when I face some dominant people, I always try to run away from any conflict. That's another story about how I became who I am... Maybe someday in the future I can make a short film of this particular content.

 

I hope the luck will meet me on my way pursuing my dream. If not, I will live a poor and harsh life, but I will not regret it.

 

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2 hours ago, aapo lettinen said:

How about first making a short fashion film or a music video with this type of b/w stuff?  It would help to get you noticed and to get the first small projects started

Thank you my friends for your comments, I am trying to find people who need fashion films or music video, I am willing to do it for them without paying me, as I am building my reel.

I appreciate your advice!

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36 minutes ago, Samuel Lu said:

Actually, now is even crazier since I am in my late 30's, I got a family to feed, many responsibilities. From the moment I decided to do video stuff, I haven't made a penny yet, I am struggling, and also my family. I won't lie, it is very hard, it has been driving me crazy.

Did I understand correctly that you are a professional photographer who has now completely given up photography work because you want to pursue cinematography instead?   You will need a "soft" transition if wanting to pursue this cinematography stuff and photography is the field you already know so you should definitely still continue doing paid photography projects until you get enough video work to support your family (this can take couple of years or can be quicker depending on your contacts and luck and how much you get to work) . 

Otherwise you will quickly run out of money and then you need to take 2 or 3 "normal" jobs to pay the bills, working in MacDonalds and such. Then you don't have enough time and energy to pursue cinematography in the first place... 

So if you already have paid photography gigs, then keep it up and just start to do DP stuff as a "side job" when having time. When you have enough experience and contacts you will get more and more DP work so that you can phase out the photography section  if you want. But "jumping off the cliff" by instantly stopping doing anything else and just concentrating on the Cinematography where you don't get any money from yet is clearly a mistake and will probably reduce your chances to became a Cinematographer in the first place. It is just too big leap of faith at the point when you are just starting out and don't have any income from this new field of interest yet.

Additionally, the photography clients will bring you contacts which are helpful for video gigs too. They probably will even start order videos from you by themselves when finding out you can do much more than just photography ? 

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I collected some Cinematography related videos some time ago to a playlist, they are very useful for aspiring Cinematographers. I recommend watching them all in that specific order whether having seem them previously or not, there is a reason why I chose them and why they are in that specific order on the list ? 

https://www.youtube.com/playlist?list=PLXvIUtmF3OxuGDEXV50C-1K4U81Jut4nu

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15 minutes ago, aapo lettinen said:

Did I understand correctly that you are a professional photographer who has now completely given up photography work because you want to pursue cinematography instead?   You will need a "soft" transition if wanting to pursue this cinematography stuff and photography is the field you already know so you should definitely still continue doing paid photography projects until you get enough video work to support your family (this can take couple of years or can be quicker depending on your contacts and luck and how much you get to work) . 

Otherwise you will quickly run out of money and then you need to take 2 or 3 "normal" jobs to pay the bills, working in MacDonalds and such. Then you don't have enough time and energy to pursue cinematography in the first place... 

So if you already have paid photography gigs, then keep it up and just start to do DP stuff as a "side job" when having time. When you have enough experience and contacts you will get more and more DP work so that you can phase out the photography section  if you want. But "jumping off the cliff" by instantly stopping doing anything else and just concentrating on the Cinematography where you don't get any money from yet is clearly a mistake and will probably reduce your chances to became a Cinematographer in the first place. It is just too big leap of faith at the point when you are just starting out and don't have any income from this new field of interest yet.

Additionally, the photography clients will bring you contacts which are helpful for video gigs too. They probably will even start order videos from you by themselves when finding out you can do much more than just photography ? 

Yes, brother, you understand it correctly, I have already given up my photography as a profession, actually 5 years ago I have stopped photography work, all you see the photos in the post or on my website all shot 5-6 years ago. (I moved to the US 6 years ago)

I agree to soft transition would make a lot more sense at the stage of my life.

 

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27 minutes ago, Samuel Lu said:

Yes, brother, you understand it correctly, I have already given up my photography as a profession, actually 5 years ago I have stopped photography work, all you see the photos in the post or on my website all shot 5-6 years ago. (I moved to the US 6 years ago)

I agree to soft transition would make a lot more sense at the stage of my life.

 

What do you currently do then?  it should be possible to combine most professions with occasional photography work (depending on what your employer allows) because you already have great photography portfolio. Then you can expand that to combined stills + video work. Then, more video and less stills. That should work too. 

You can look for a stills photographer work on music videos, small commercials etc. where the main product is the video someone else is shooting but stills are also needed to support the video on social media etc. when it's published. this way you can get to the sets and learn from watching the others working without needing to actually run the set by yourself. You can do the first one "for free but if you pay me if you publish the photos" so that they don't have any risk but you will still get some money out of it. Next time you get hired you can charge for the work already and soon you can start to offer to shoot some "making of material" on video at the same time, because, well, you will be on the set anyway and always have the camera around.  Then you are already doing paid video work and it was not risky for either you or the client and happened pretty quickly and you already got something for your reel ? 

Do cinematography experiments and small projects on your free time and make a gradual transition from shooting stills on set to shooting some kind of video on set to actually running a small set as a dp. then transition from smaller sets to bigger sets slowly but surely

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Those are lovely photos.

I can't give you any advice, really, because I'm a photographer like you and I have done very little operation or lighting. However, I can recommend one thing: start listening to the Indie Film Hustle podcast. And watch The Secret, if you have not already done so.

Good luck, my friend!

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1 hour ago, aapo lettinen said:

What do you currently do then?  it should be possible to combine most professions with occasional photography work (depending on what your employer allows) because you already have great photography portfolio. Then you can expand that to combined stills + video work. Then, more video and less stills. That should work too. 

You can look for a stills photographer work on music videos, small commercials etc. where the main product is the video someone else is shooting but stills are also needed to support the video on social media etc. when it's published. this way you can get to the sets and learn from watching the others working without needing to actually run the set by yourself. You can do the first one "for free but if you pay me if you publish the photos" so that they don't have any risk but you will still get some money out of it. Next time you get hired you can charge for the work already and soon you can start to offer to shoot some "making of material" on video at the same time, because, well, you will be on the set anyway and always have the camera around.  Then you are already doing paid video work and it was not risky for either you or the client and happened pretty quickly and you already got something for your reel ? 

Do cinematography experiments and small projects on your free time and make a gradual transition from shooting stills on set to shooting some kind of video on set to actually running a small set as a dp. then transition from smaller sets to bigger sets slowly but surely

Thank you very much for the time and consideration you put in my post. It does help me to clear the fog in the path. 

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2 minutes ago, Karim D. Ghantous said:

Those are lovely photos.

I can't give you any advice, really, because I'm a photographer like you and I have done very little operation or lighting. However, I can recommend one thing: start listening to the Indie Film Hustle podcast. And watch The Secret, if you have not already done so.

Good luck, my friend!

Thank you! I've read The Secret, my wife kinda adopts the idea very well, and I am slowly getting into it too. Otherwise, I could've dropped the filmmaking dream long time ago.

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Great news! You already have a cinema camera in your phone.

You'll need to find your own career path through the business, but you also need to learn cinema vs still photography.

Write some short scripts, without dialog, and find a way to shoot and edit them. You need to learn how images combine to tell a narrative story. You need to learn where to place the camera to tell the story.

If you find this idea daunting, and hard to imagine, then… cinematography might not be for you.

This will cost you nothing but time and energy so get started … today!

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Do you know any directors? or do you want to direct your own work?

Knowing directors is like half the battle for an upcoming DP. You need good work to shoot.

If you want to direct your own work, make something short/small that you are passionate about that can demonstrate your skill and be seen. If the goal is to work as a DP make sure you focus on something you can make look great and do lighting.

Like anyone if you make good work and get it seen you will find success.

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1 hour ago, Albion Hockney said:

Do you know any directors? or do you want to direct your own work?

Knowing directors is like half the battle for an upcoming DP. You need good work to shoot.

If you want to direct your own work, make something short/small that you are passionate about that can demonstrate your skill and be seen. If the goal is to work as a DP make sure you focus on something you can make look great and do lighting.

Like anyone if you make good work and get it seen you will find success.

Where would you recommend me to know some directors? I am in LA.Thank you!

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18 hours ago, Samuel Lu said:

I am inspired by Chloe Zhao, who won the Academy award best director and best picture, We are from the same country, I believe I have the heart to tell some story as beautiful as she did. I know I am being idealistic again...

Be careful who inspires you... Chloe grew up with A LOT of money. She was sent to the best schools, she was given all the resources she needed without needing a job herself. You will find MANY of the younger successful people in this industry, had a substantial financial boost from their families and friends. Where I agree, she's super talented, just imagine never having to work, being able to be creative every day without worrying about finances. We can't relate to people like that sadly, we have to work in order to pay our bills and that's what we all do to get by. 

18 hours ago, Samuel Lu said:

I will go to USC film school, but not now, when I save enough money to afford the super expensive tuition fees, I will work my butt off to learn as much as possible, and try my best to accumulate a bunch of friends who have the same dream

I've personally never been a fan of film school, even though I taught at one. I personally think it's a total waste of time. If you want to learn what it's like to work on a big show, you need to get a job as a production assistant and see what it's like. You need to buy a cheap cinema camera and start shooting stuff. Even if it means going on craigslist to find help, it's making the work that counts. Sure, you'll network at USC, but remember everyone at school is trying to do what you're doing. So where I agree, meeting them is a good idea, I don't know if spending that kind of money has more value than spending it on your own productions. Obviously if you don't want to be a director, then that's a small problem... but you can tell personal stories by yourself through documentary, which can help build your cinematography skills. 

18 hours ago, Samuel Lu said:

I am an extremely introvert, I feel very uncomfortable when I meet people I don't know, even worse when I face some dominant people, I always try to run away from any conflict. That's another story about how I became who I am... Maybe someday in the future I can make a short film of this particular content.

Honestly, quite a few of the top DP's I've worked with are pretty quiet introverted people. They talk quietly with their crew, they keep quiet/to themselves and they do the work. The most important part/aspect is being able to have good conversations about your vision and convincing people through your previous work, that you're capable of doing the work. So being able to pitch yourself and sell yourself in the meetings, is what you need to do. You're basically getting a new job on every show, which for some people is very tricky. I have never had a problem selling myself, but some people do, so that can be challenging. Another way to think about it, is to find a director who is also from China who is looking for a DP. I have found the same thing with my work, I seem to frequently work with people who are from the east coast of the US, which is where I'm originally from. It's like there is a bond in our attitudes that works, you may find more common ground with someone from your own country and that may help you grow faster. 

In the end, there is no magical formula. Some people work super hard and never make it. Others just get lucky by being in the right place at the right time and talking to the right people. Their career suddenly bursts open and they are good for life. It's all a random game of chance really, there is no way to predict how they'll get along. My career has mostly been luck, I don't look for gigs, they just land on my lap, but mostly because I have the equipment and skills to use it. I think it's harder for those who don't have equipment and even harder for those who have a full time job to pay their bills. Every time I get offered a decent full time job (which has happened many times my life) I generally take it because why not? It does prevent me from being on month long projects, but it doesn't prevent me from making my own product. 

To me, that's the important part, making product, getting eyes on it and growing as a filmmaker. I don't see the limelight of working on a feature to be anything special really, especially a small indy that may never see decent distribution. I have so many friends who blow their entire lives searching for money and a career, but so few of them realize how much the industry takes in the form of their youth. In the years I should have been shooting films, I was out enjoying myself, racing motorcycles, running small businesses, having silly jobs that allowed me to take time off and live my life. I think there is a happy medium between working hard and enjoying life and it's hard to do both when you're in this industry. That's why so many people have given up on the limelight of the big shows and simply produce their own shows. 

Anyway, sorry for the rant... I'm just venting some experiences having lived in LA for 19 years and worked on lots of reasonably sized shows. 

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16 minutes ago, Tyler Purcell said:

Be careful who inspires you... Chloe grew up with A LOT of money. She was sent to the best schools, she was given all the resources she needed without needing a job herself. You will find MANY of the younger successful people in this industry, had a substantial financial boost from their families and friends. Where I agree, she's super talented, just imagine never having to work, being able to be creative every day without worrying about finances. We can't relate to people like that sadly, we have to work in order to pay our bills and that's what we all do to get by. 

I've personally never been a fan of film school, even though I taught at one. I personally think it's a total waste of time. If you want to learn what it's like to work on a big show, you need to get a job as a production assistant and see what it's like. You need to buy a cheap cinema camera and start shooting stuff. Even if it means going on craigslist to find help, it's making the work that counts. Sure, you'll network at USC, but remember everyone at school is trying to do what you're doing. So where I agree, meeting them is a good idea, I don't know if spending that kind of money has more value than spending it on your own productions. Obviously if you don't want to be a director, then that's a small problem... but you can tell personal stories by yourself through documentary, which can help build your cinematography skills. 

Honestly, quite a few of the top DP's I've worked with are pretty quiet introverted people. They talk quietly with their crew, they keep quiet/to themselves and they do the work. The most important part/aspect is being able to have good conversations about your vision and convincing people through your previous work, that you're capable of doing the work. So being able to pitch yourself and sell yourself in the meetings, is what you need to do. You're basically getting a new job on every show, which for some people is very tricky. I have never had a problem selling myself, but some people do, so that can be challenging. Another way to think about it, is to find a director who is also from China who is looking for a DP. I have found the same thing with my work, I seem to frequently work with people who are from the east coast of the US, which is where I'm originally from. It's like there is a bond in our attitudes that works, you may find more common ground with someone from your own country and that may help you grow faster. 

In the end, there is no magical formula. Some people work super hard and never make it. Others just get lucky by being in the right place at the right time and talking to the right people. Their career suddenly bursts open and they are good for life. It's all a random game of chance really, there is no way to predict how they'll get along. My career has mostly been luck, I don't look for gigs, they just land on my lap, but mostly because I have the equipment and skills to use it. I think it's harder for those who don't have equipment and even harder for those who have a full time job to pay their bills. Every time I get offered a decent full time job (which has happened many times my life) I generally take it because why not? It does prevent me from being on month long projects, but it doesn't prevent me from making my own product. 

To me, that's the important part, making product, getting eyes on it and growing as a filmmaker. I don't see the limelight of working on a feature to be anything special really, especially a small indy that may never see decent distribution. I have so many friends who blow their entire lives searching for money and a career, but so few of them realize how much the industry takes in the form of their youth. In the years I should have been shooting films, I was out enjoying myself, racing motorcycles, running small businesses, having silly jobs that allowed me to take time off and live my life. I think there is a happy medium between working hard and enjoying life and it's hard to do both when you're in this industry. That's why so many people have given up on the limelight of the big shows and simply produce their own shows. 

Anyway, sorry for the rant... I'm just venting some experiences having lived in LA for 19 years and worked on lots of reasonably sized shows. 

Wow, my friend, thank you so much for writing these informative words, I value them very much. Even though I have not been in the industry yet, but I totally understand what you are saying.

 

I am introvert but I am confident about the things that I am passionate about, say photography. Like Ray Dalio written in his book, Some people who are creative are not reliable and vice versa; some see big pictures while others see details, etc. All of them are important to have on well-orchestrated teams.

I will not say I am not a reliable person, but I indeed not a very stable person, like I mentioned earlier in my post, that's where I came from, my past experience good and bad created me. I learned not to criticize myself for being who I am in my early 30's, it took a lot of time and extremely emotional phrases. So I am okay with "random" and "luck", tho I am not the guy always embraced by the "Lucky Fairy", but I consider it is part of a person's destiny. I completely accept it peacefully. What I can't accept is give up my dream, probably the only dream which can keep me passionately for decades.

 

I've been wondering around a lot, doing small businesses, silly jobs, "part time" musician... etc,. But all the experiences provided me a sort of "sense" of being alive, those nuance emotions that I adapted along the way is priceless to me. I enjoyed it, and loved it.

I won't argue Chloe Zhao's family background, as a Chinese also, I know her father is a rich businessman, and her stepmother is one of the biggest celebrities in China. Me share 0 similarity with Chloe Zhao (ok, we were all born in China lol). 

Film school can be good for some but bad for some too, to me, I don't know, tbh, I have never been to one, but that's the way I think I can get to know more people in or will be in the industry, and let them see my talent, maybe can find someone who shares the same passion.

I understand you said it's better to find someone come from the same country as I am, that's true, but it is hard, Chinese who went to film school or in the industry are usually have the same if not even better financial background as Chloe Zhao, most of normal families in China, their whole life saving are not sufficient for US film school 2 year tuition fees. So they come to the US finished their film school study, they go back to China with the certificates, and work in the place with a huge rampart where their parents have strong relationships in and prepared for them nicely. (I know this paragraph is very negative and cynical)

People call me a day dreamer ever since I was a kid, I am ok with it, and I even love it, it gives me a colorful world, give me an additional parallel world where no one can disturb me.

 

After reading your comments, I am getting excited instead of intimidated. To me, the unpredictable future is the beauty of life. There is no 1+1=2 for life.

Thanks again for lending your helping hand to me. It means a lot to me.

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7 hours ago, Samuel Lu said:

People call me a day dreamer ever since I was a kid, I am ok with it, and I even love it, it gives me a colorful world, give me an additional parallel world where no one can disturb me.

Yea gotta be a dreamer to be in this industry, it's just the nature of things, especially when you break in. I think a lot of people have lost that original passion over time, as being a full time DP can get monotonous if you aren't working on super creative projects. It's not easy to always get those great projects, a lot of times you're stuck with making money. So there are pro's and con's. 

7 hours ago, Samuel Lu said:

After reading your comments, I am getting excited instead of intimidated. To me, the unpredictable future is the beauty of life. There is no 1+1=2 for life.

You should be excited and you're absolutely right, there is no straight forward answer. 

I made a powerpoint presentation on how to make your first feature film. It's very lengthy and goes into the entire proper process of making it happen from scripting to pre-selling and finding cast/crew, etc. It's really detailed, but in the end not everyone can follow it. Most people will look at it and be daunted. Many will try and fail. A few will try and not follow the guidelines, to then eventually realize the guidelines are super important to follow and realize they blew a lot more money than they needed to. Only a very small amount will actually make something and be successful right away from it. In my entire lifetime, I believe it's only happened 4 times. Where a low-budget filmmaker, who didn't follow the rules, who had no money, actually made a very successful movie and went on to be a successful filmmaker, not just a one hit wonder. 

So there is sort of a formula, but there are dozens of them. It's about choosing a path, understanding the formula to make that path happen and then you can very easily tailor it to fit you. But sadly, I do think there are only a few ways of getting into the industry AND making a living off it. Because trust me, I've been at this a long time and I had to get a full time job after being a freelancer for 6 years, with nothing to really show for it. I have tuns of connections, lots of work, but the pay is just shit and So Cal is not cheap. Making ends meet, is the challenge and those higher end jobs that will allow you to pay the bills properly are for better or worse, not easy to get. 

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24 minutes ago, M Joel W said:

Just out of curiosity – why has no one recommend working your way up camera dept or G&E? 

 

That generally requires going to the film school and getting the first jobs via internships because you need to work on pretty high profile productions for this to be usable. 

I an pretty sure that it would take more time and money for the op to go this route instead of the low and mid budget route. The goal was to get to shoot something as soon as possible and that does not work if you first do 10 years something else on sets and then can at last start to build your cinematography career

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So the low budget is probably faster route but you most likely will never end up in the highest level productions in your career. As long as you are happy and can manage financially it does not matter much if you shoot sub 3mil movies instead of the 50+ mil ones

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