Josh Taylor

How does someone make more contacts? I understand a lot of the work is from recommendations and people like to work with people they like and etc. But if you only have so many contacts, how do you make more?

Is anyone here a member at findfilmwork.com?

I am really curious if a 1st AC can get work from the site. Do you just get the production email or phone and hit them up and ask about if they are hiring (in basic terms)?

In addition to David's post, I would add the there is the "Studio Approval List" that key department members, like the DP, the A camera operator and the A camera 1st AC must be on to work there. Otherwise, it's very hard.

 

G

I was wondering if you could explain more about getting on the "Studio Approval List"?

Yes, a maze is predictable but I feel you first need to know how to move a head as second nature. Where you don't have to think which way to rotate the wheel, how fast and etc. This way also means you don't have to relay on another person; it's just you and the camera.

Once you get that - following a subject shouldn't be that hard, it will just be about framing.

What about the line producer or UPM?

Camera Department

A good way to learn is to make friends with a rental house and see if they are willing to let you use it during slow days. Mount a laser on the head and setup some kind of maze on the wall and trace it for hours on end.

I was wondering besides being in the union and who you know - how does one go about getting work with a big studio? For example if I wanted to get work for Sony Pictures, what would be the best way to set up an interview?

Or even how would you be able to get an interview for studio work?

Thanks

Thanks for feedback.

I didn't have a cinetape as it was outside of the budget. But I am not sure if it would have come in handy for that shot. Guillaume you are right with the DOF - there was no room for error in that shot.

I would say that I am a pretty good focus puller but I am looking for some advice or maybe some tricks at getting better at pulling focus on shallow DOF.

Recently, I did a shot where the Alexa had a 75mm Master Prime at a T1.3 - The camera started at 9ft and was pushed in to 4ft 9in - I place marks on the floor for every foot. The subject does not move or at is not suppose to - the entire time I am only looking at the marks and following it with the WCU 3 and I had the 2nd ac watch the monitor to make sure it was all sharp. I think we did about 8 takes and about half of that 4 was in complete focus where the others had small buzz towards the last 3rd of the shot. (I did try one take looking at just the monitor but I was better at looking at the marks).

So based on this situation how would you guys tackle this shot?

(Also you can't ask the DP to stop down.)