Hamilton Yu

I was wondering what fluorescent tubes at what color temperature to use in order to achieve the blue green color seen in the music video "turn down for what". It looks like they were balanced more or less to tungsten.

Thank you

Hi,

I'm currently a junior studying at NYU. I will be graduating around January 2015 and I am trying to plan for my future afterward. Long term, I'd like to become a cinematographer but I'd like to get there through gaffing because I genuinely enjoy working with lighting. I figure I gotta start getting grip and electric jobs. I am pretty skilled working with most basic to intermediate grip equipment and lights and am able to run power from breaker boxes to distro boxes to lights while adhering to the ring of fire.

I'd prefer to join a union as soon as possible in order to get consistent work rather than freelancing too long.

I'd love to stay in NYC if possible but it seems pretty difficult to get paying work for legit productions and impossible to get union gripping jobs without being in the union. From what I hear and can tell it is extremely difficult to join Local 52 the NYC gripping union.

Alternatively, I could move to LA. Joining Local 728 seems decidedly easier than 52 with lower union dues. Also, from what I hear, it seems much easier to get legitimate production work in LA.

Does anyone have advice on how to start gripping in NYC and joining the union? How much easier is it to get work in LA and how difficult is it to join 728? How plausible is it to join 728 soon after film school?

Thanks guys.

DP's come from all sorts of places -- some are always cinematographers and climb the budget ladder, like me, and some climb the crew ladder.

 

The thing is that rarely does actually working your way up the crew ladder lead automatically to becoming a DP, except maybe on a long-term TV series where promotion to DP happens from within, promoting someone who knows the show well, but otherwise even if you are working as an AC or gaffer, etc. at some point you also have to build your resume as a DP, even if on the side, because ultimately you get hired based on the strength of your resume and reel as a DP, not for your experience as an AC or gaffer, even if those jobs prepare you for some aspect of the job. Ultimately, though, the only way to learn to be a DP is to shoot.

 

But there are cinematographers who started as AC's and operators for older DP's from whom they learned a lot, and they made connections with producers and directors who gave them their break as cinematographers.

 

So there is no one path, no right or wrong way. I will say, however, if you choose to be an AC, operator, or gaffer, etc. you have to take that career seriously for a certain number of years and master that craft.

 

I didn't join Local 600 until I had shot about 23 features, about twelve years after I graduated film school. For some, it happens early, and it happens earlier for AC's than it does for DP's (and it is cheaper to join as an AC than as a DP.) Basically you join at the time when you are likely to be hired on union productions, before that time, there isn't much reason to join and pay dues and the initiation fee. For me, I joined when the budgets of my features started climbing over 2 million dollars -- "Northfork" was the last non-union movie I shot, in 2002.

Thanks for your response David. I would like to climb the budget ladder as you did. But I'm having trouble breaking into paid jobs. I'm currently just working on student films for free but I still need money in NYC. Would you suggest against doing paid AC/gaffing gigs. Also, as a DP for hire, would you suggest I buy any equipment such as lighting or support or even a camera on top of what I already own?

What exactly does a camera team do when they go to a rental house to check out a camera. What are the normal checks and exercises and what are some more specific checks? Both for a DP and for an AC?

Thanks for those great answers!

As a follow up, if one can't get the DP job on a set, what other job would be the most helpful to an aspiring DP: Gaffing, AC, or operating.

Do many DPs start as professional operators or ACs or gaffers?

It always baffles me when kids at the "elite" film schools come on here and ask these questions. I mean you are at the NYU Film School, and none of your professors have ideas with regard to how to answer this question?

 

R,

 

Oh BTW, there is very little crossover between DOPs that shoot commercials and those that shoot feature films.

Thanks Richard. Very helpful.

I'm currently studying film at NYU with a concentration in cinematography. I am very serious and passionate about it but I'm just not sure how I go down the path.

My end goal would be to be a feature and commercial DP and I understand that it will take time and I am ready to work my way up but how do I get there?

Right now I'm just shooting/gaffing/AC projects for others at Tisch and looking for freelance jobs and fashion films. Should I be working to join the Local 600 union? If so, as what? 1st AC?

Does anyone have tips on getting more jobs?

Finally, does anyone have any advice as to what equipment I should get. Currently, I have a DSLR with lenses, a shoulder rig, follow focus, and an 8" monitor.

Thanks a lot for your answers