Michele Peterson

Make them pay you for that BS. At the very least some sort of fee for canceling. I've had that happen to me when I showed at a location in Long Beach (I live in Burbank) and when I get there, no one is there, so I call and get "Oh didn't my Key PA leave you a message yesterday? We changed the call time and cut back on personnel. Sorry" I also used to work for a company years ago that constantly canceled the night before, I later found out they were getting paid cancellation fees by the shops they shot for but not paying us crew! But those producers were pretty ridiculous and expect freelance crew to guarantee to be available, despite the fact that the company did not guarantee work days.

I know how that type of situation goes. I fairly recently was taking to a producer about possibly working on a low-budget project with them as a camera op. They wanted to know if I had used a Sony V1U (a tiny, pro-sumer style camera). They were dead set on having someone who had used that model camera. It meant nothing to them that I have used tons of other Sony, Panasonic, JVC MiniDV cameras & pro-sumer HD cameras, not to mention the professional BetaSp, Pro HD cameras, etc. My reel and credits weren't a concern for them either! LOL

The link to your resume is not working. It takes me to my own blog of myspace when I log-in.

Normally I wouldn't be one to suggest turning down jobs, unless you have another, better one. But for me in this case, it isn't worth the trouble of dealing with people (and this guy is guilty by association) who play games with my paycheck. I'm much better off leaving myself available for better jobs than taking a low-budget gig that is full of hassle. I politely turned him down.

To add to my story, the other day I got asked by one of the producers from the same shoot if I would work for him on a separate project! :lol: Now that's one that I certainly can foresee what would happen.

I know from my own experience being a Segment Producer having to manage small crews that I would have balked at having to go through so much extra effort getting extra cash or writing extra checks and doing the extra paperwork/accounting for that many more payouts. Obviously, you are correct that someone not intending to pay would balk at that, but many Producers/PM's would balk at having to do that extra work for someone when other crew (who are just as qualified) will work for one check at the end of the billing period. Maybe a few people have enough clout to demand that, but then I would imagine those are the ones not as likely to be dealing with low-budget producers that screw people.

There are a few students that call themselves professional DP's, Gaffers etc. They were such on student productions and expect to step out into the real world as such. Those are the type that scare me the most. They really don't have any experience to know how to do the job properly because they aren't willing to admit that they need to learn from those more experienced than themselves.

If you have sure fire way to never let it happen again, I'd love to know what the secret is. I get contracts & deal memos in writing, keep my own copy, keep copies of call sheets, don't work for anyone that is known to be sketchy or is obviously sketchy, but other than that, how can anyone know for certain, in advance that an employer is not going to send out your check?

Unfortunately, for the first time in 5 years, I have come across a freelance employer that hasn't paid me. It's was only 1 day job for $250, but still, I expect that money. I'm no longer worried about being nice and saving the connection because I'll never work for anyone again that plays games with paying me. It's been 50 days since I worked. He avoids some emails, and others responds and says it will be sent out the next day. I gave an invoice directly to him on the day of production, sent a 2nd email with a duplicate invoice 30 days after working, and just mailed a 3rd copy of the invoice by certified mail a couple days ago. My hope if that the certified letter will get his attention that I am preparing to have to go to court and get him to pay up. I'm looking for any advice anyone might have that has worked for others in getting their checks.

Companies also form separate LLC or incorporate for each production or each season of a series for the liability protection by separating assests. If they sued for anything on one season (E&O or whatever) the plaintiff can only get awarded money based on that season's company, and their revenue from the rest is safe. Each LLC or corporation is a separate legal entity, so if the parent company signs one contract, the other company is not inherently bound by that unless they specifically were part of the contract.

I am in the market for a new prosumer level HD camera. I am trying to decide between the HVX200 and the JVC HD200. I will be using it to shoot some simple corporate videos and to use on indie video shoots that I get hired onto. For me, it comes down to that I prefer the professional style/form factor of the JVC with the shoulder-mount and real (although admittedly not the best) lens. But I am debating about the HVX because it is currently in demand right now for what many (low budget) producers seem to want. Basically I don't want to spend $5k and regret the model I choose, but I don't want to limit myself on jobs I could get hired on. What are other people's experienced with investing in cameras to aid in getting hired? I know a camera won't guarantee me a job, but is it something that is important enough to factor into my purchase decision, or am I wrong in my assumptions?

A trick I heard once (I don't remember from who though) is to alternate carrying the camera on your other shoulder in-between shots. I work mostly in reality tv, and can see how there can often be more times of waiting or walking around with the camera while not shooting, as opposed to scripted shoots.

I haven't looked into master's programs specifically, but I do know that a lot of schools' Bachelor Degree programs offer concentrations in specialties, including cinematography, yet the final degree says Film production. If you have not already, I suggest looking into USC (University of Southern California) and UCLA (University of California, Los Angeles).

I know you are tight on funds, but a scuba diver trained in water rescue, or at least an open-water (ocean, not a pool) lifeguard might not be a bad idea. There are production people who specialize in underwater work.

Another recommendation, get gloves that fit well. It's very hard to find anything more than gardening gloves that are the right size for women. I used a pair from the local hardware stores for years doing various jobs, but finally wore through them and bought small size gloves from film tools. I didn't realize how much a difference it makes.

Finding pink tools isn't easy, only a few of mine are that way. You can get pink 1" gaff tape at film tools. I also put pink line to put a loop on my wrench. I do want to paint my black knife pink, but haven't gotten around to it. A pink razor blade/utility knife if easier to find. I'd rather have a better quality black knife than a pink one that will break. Most of the cute little tools for women are not very high quality. As for the steel toes shoes cutting your toes off, I think that is more of a myth. Anything that could push the steel all the way through your toes, would sever your toes if you didn't have protection anyway. I also doubt it will be the cause of cut off your toes, more likely just smash them like any other hard object on the outside of your shoe. If a car drives over your foot, nothing is going to save it. I have seen & taken a co-worker to the hospital when a combo stand fell on his foot. That was because someone didn't lock the riser down like they should have and he picked it up by the top riser and the rest fell on his foot (he only had regular tennis shoes on). Most work boots have reinforces toes, even if they aren't steel. Sorry about the lack of better structure to my other post, I was adding as thought came to me of all the things I have been taught. I also second what was mentioned about Uva's Basic grip book. You don't have to understand how everything works yet, but learn to recognize things so you can get it when asked for. I forgot to put a tape measure on my list too, but he said that before me anyway.

I believe (but I'm not a legal expert) you're right that you don't need a release for shooting people in public. They don't have a reasonable/legal expectation of privacy. I think thats how paparazzi get away with it. You can't however, go running into their house and video tape them unless you have their permission to use their face or possibly you only need the property owners permission to shoot there. Cops also does have some people's faces blurred, so there is a line somewhere. I think you're also right about certain productions that can afford it, just pay to avoid dealing with the lawsuit. It's cheaper to settle. Plenty of people sue even when they know they don't have ground to stand on. I have shot at outdoor events on private property, like in stadiums, large parking lots, and in convention centers. In those situations, we had a location release from the company hosting the event, and the company put up signs (to help all the media there) that anyone entering the premises where agreeing to be photographed by entering. We just got a shot of the sign for our own records.

Hilarious and so true. Maybe watching that should be a required step in creating an account? ;)

A kit fee for a grip does not mean you'll be expected to bring stands or any of that type of equipment. That will all be rented. You'll need to hand tools and some tape. I suggest at least one roll of 2" black paper tape and a 1" roll of gaff tape, maybe some snot tape. Ask the key or best whom you spoke to about the kit, they may include a price for power tools like power screwdriver or circular saw (if you have one at home). You want to check, because if they are getting a higher priced kit fee for those more expensive item, don't undercut them by bringing it in your kit fee. Bring: gloves (as said before, you MUST have these) A tool belt (all these tool should be kept on you) hammer crescent wrench screwdriver (to save space in your belt, get one that has interchangeable tips) needlenose pliers vise grip dykes knife (get one that has both a serrated part to cut rope and straight edge to cut gels) tape (put it on a short loop of rope and keep it on you) safety googles (get some of your own that you always have with you and are a little more stylish) pens pencil sharpie nails and screws (just a handful to have with you, you may or not get them from the truck, but if you are being paid a decent kit fee, bring everything reasonable that might be expected, you don't necessarily have to use your own) A leatherman is great to have in your pocket, but not required. A good place to get a cheap belt is an army surplus store. Tie a loop of rope on crescent wrench to put it on your wrist when climbing a ladder or working up on the perms. Even if you're not planning on gripping as a career, these are good basic tools to invest in to have around the house. Label everything, things tend to grow legs and walk away when anyone nearby needs a tool or pen. As a female gripping, I suggest getting a more specialty wire cutters instead of just regular dykes, that way it takes less force to cut nails or grip chain. A lot of people say women can't do grip work, but it's all about working smarter rather than harder. Think about everything heavy you pick up and use leverage to your advantage. Male or female, you need to save your back. ALWAYS ALWAYS keep your back straight and never turn your hips (take a step with your feet instead) when lifting. As a female, I also find that pink tools disappear less. I like to bring a backpack or leave in my car, extra personal items. I bring a change of clothes, especially socks, a hat, since it's summer, bring pants if you're wearing shorts in case it gets cold at night. Wear good shoes you know won't hurt your feet. Steel toed are best. I also bring things like sunblock, advil, big water bottle. You can also put things you may need, but don't want to carry on your belt all day, like extra tape. You can also put tools your tools away somewhere.

I've shot from a moving boat with that camera and without the luxury of stabilization devices. The shots were mostly unusable, fortunately, we were not dependent upon that shot. The faster your boat goes, the more you'll bounce, so you'll have to slow down. Avoid driving the boat across the wake of another, to minimize bumps. The bough of the boat will bounce more than the stern at high speeds. My advice is shoot any shots you can from land to give yourself the option. When the production I was on did it, there were also different cameras on the shores (it was a lake) using long lenses.

I never said people can't move up. You need to read more carefully! Everyone is an amateur before going pro. But how many crew members that work to make a living jump between the worlds of paying an not? At most someone who's made it will do a gig for a charity or such. People like Rodriguez talk about getting friends to help him, not hiring people without pay.

No, I can't possibly be keeping track of and listing all the insurance companies and brokers. You're going to have to do your own research on any company you consider. The first step in finding out is to ask them. That company calls themselves a brokerage (on their site). They also list a license number, so it's more than likely, but that's only what I can see on their site. I'm not an expert or offering a guarantee on that company.

No, I can't possibly be keeping track of and listing all the insurance companies and brokers. You're going to have to do your own research on any company you consider. That company calls themselves a brokerage (on their site). I can't tell you if they're licensed, I have no way of knowing that. The first step in finding out is to ask them.

As I originally said, don't be afraid to quit if they treat you poorly AND don't pay. MOST people know how to look at both sides of the story. Not paying people speaks volumes in itself to YOUR professionalism. The difference between an amateur/hobbyist and a professional is being paid! If you're unprofessional, how many professional productions are you really going to influence and how seriously will they take you?. There really are two different worlds between the no-pay films and the professional ones. Poor workers will get a bad rep by the pros even quicker, their standards are much higher. The people who don't pay are obviously biased about saying crew members shouldn't quit. What do you expect for nothing??? Not paying has a lot of risks you take. It's give and take, got to have both in equal amounts.

Be VERY careful of companies willing to sell you the use of their insurance policy. Get insurance form a licensed broker! If you do a co-production, make sure it's legit, that mean the co-production company has to have some sort of stake in the production and a contract written up. A lot of people are illegal selling their own policy to you. If you do that, and a claim is made, the actual insurance company (like fireman's fund, etc) will NOT pay up! If in doubt, call up the backing insurance company itself and make certain that any other company you buy from is allowed to broker addition policies.