Jump to content

Michele Peterson

Basic Member
  • Content Count

  • Joined

  • Last visited

About Michele Peterson

  • Rank

Profile Information

  • Occupation
    Film Loader
  • Location
    Burbank, Ca

Contact Methods

  • Website URL
  1. Contact CSATF first. They'll tell you want they want. They'll probably tell you to show proof of days worked by showing payroll records. Hopefully your jobs were paid through a payroll company. That'll make it easier for you.
  2. In my opinion no one should touch equipment that does not belong to them without premission. I don't like people I don't know touching my stuff. Too many people break things, lose things and damage things that I either own or am going to look bad to production for it being L&D. My biggest pet peeve is people who go into my bag and take things without asking because they see it. People who don't have the manners to ask first are the ones that don't have the respect to return things. If someone asks, I have no problem helping them 99% of the time. I've been dolly grip before a
  3. As for age, when you get into large studio productions, many people will be around your age. It takes experience to get to that level. Plus many have spent careers as 1st, 2nd or loaders because the are content and satisfied in their craft and have no desire to move up and take on what that entails. Small, low budget shoots are more often younger crews who are gaining experience and working up to bigger productions. As with anyone starting, or starting over, it all depends on who you know as far as getting work. How easy it is to find a job is crucial dependent upon your network. Do
  4. While I have not had this exact scenario before, I have found various types of glue can be removed with the following, in order of my personal preference: Lighter Fluid - Best in my experience for glue residue (I've used it on bumper stickers with great success) Acetone - Very handy for cleaning many various unknown residues off things in my experience Goo-Gone - I second the person who already mentioned this. I've found it equal to lighter fluid, just a commercial product.
  5. There are a lot of AC positions in LA, but there are a lot more people who are competing for those jobs. I don't know the going rates in Canada, so I can't say the difference. In the US rates vary depending upon the type of production ie corporate video, indie film, broadcast tv, features etc and if it's union or not. Unions have their set pay scale and if you are union, you already know them. Non-union can range from as little as 0-$100 a day on very small spec shoots to $200-$300 for non-union TV shows (shooting video, typically reality). How realistic it is to move here expecti
  6. Very Nice. I'll most likely replicate yours. Thanks so much for sharing!
  7. I have a magliner Jr with a top shelf. I am looking to add a bottom shelf but am debating between 1. this popular 24"x36" carpeted and lipped standard shelfs 2. A Carpeted, flat (no lip) shelf 3. Cheapest, flat (no lip), metal shelf Soemtimes the lip on the bottom shelf gets annoying when moving heavy cases on and off, but it does help keep them from bouncing or sliding off. Does anyone have an experience with any of these that they'd be willing to share to help me decide?
  8. I'm working as an outside vendor, not an employee on a non-union show. I've been lucky enough to never have a forced call before, so I'm not sure what to bill. What is the going rate for forced call penalty?
  9. My half day rate (for 6 hours or less), is 3/4 of my normal 12 hour rate for that company. It isn't half because, like you mentioned, you are not able to take a fully paid job for that day. 3/4 to me is fair. I get enough to make it worth my while, while they get a break because they are not working me a full day. I don't take half days regularly though and it is pre-negotiated so I can decide if I have a full-pay opportunity that day, and I dont' get sent home a bunch of times losing money I was counting on. Many others I know still charge the same 12 hour rate, even if they only work on
  10. It took me 8 years in this industry to find a crew that I truly am friends with and enjoy going to work with. Some days are still crappy for other reasons though. It took 3 years after first working and meeting each other before we started working regularly together. Before I got in with them, I got into the union and I still pay my regular dues, yet don't get much meaningful work out of it. Some people take less time to meet the right crew, others take longer. For me, I have decided that it's not worth taking crappy, low paying jobs, or jobs with a**holes, or both. It's not fun tha
  11. Most large companies separate their assets into separate legal entities. That way is someone gets hurt on the stage and sues the stage for an injury that happened on it, they cannot collect on revenues from the show. They two are usually insulated from each other, which will work to your advantage in this situation. Either way, your instincts to call the local is your best bet.
  12. It depends where people are. I'm certainly not a lawyer, but my understanding is that anyone who goes out in public view is fair game to be photographed. The standard practice, in my experience at least, when shooting people at a place that is open to the public but privately owned, is to get permission of the owners and then make a properly worded legal release in the form of a sign, that is clearly visible at ALL the entrances of this area. This sign informs people that entering the area constitutes their agreement to be photographed. I always get a quick shot to document the rele
  13. The stage isn't the one who is signatory, it's the production company, so if you continue to work for the non-union company, I doubt there will be an issue. I also doubt anyone will be so concerned as to question you about it. Sounds like a good networking opportunity to me.
  14. Why don't you try this and see if you can get a film made under this scenario. Just as likely as your scenarios, crew could band together (in say a union) and set their own demands and then just like what happens in real business negotiations, the two parties make an agreement and meet somewhere in the middle. Nothing is as unilateral as you try to make it seem. What good are these scenarios for studios if they can't find a workforce to work under them, then they can't make their product.
  15. Where did I assume all workers are union? And who says I'm suppossed to define an employee? It's been discussed on here and if you look it up on the state labor board website. You're making assumption yourself and there are wrong. I never professed to be an expert on paralegal, but maybe you think you are. I merely said I doubt it based on what Matthew brought up. Attacking me and calling me bitter doesn't make you right. The law is clear on this. Oh and by the way, your assumption about me continue to be wrong, I have a formal college education, managed a resturant and have been
  • Create New...