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Kenny Williams

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  • Occupation
  • Location
    Los Angeles California
  • Specialties
    I am interested in Directing,Writing,Editing,and Acting but would like to be a better cinematographer.

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  1. Hello all! I am currently in pre-production for a short film of mine! I was wondering if anyone had experience on securing license rights for shorts? Does anyone know where to begin or where to find out if a song is royalty-free yet? Or better yet is it too much of a headache to even bother with for a micro-budget short? Originally I was looking to inquire about a FRANK ZAPPA song, but if what I found was true that seems like a lost cause. Does anyone have any experience and can point me in the correct direction? Is it worth it? Does it matter what the subject matter is or does the amount of the song matter? As you see I have no experience any would be appreciated! Thank you, Kenny
  2. I am aiming to shoot a short film at the end of this year. Most of the film takes place in a car at night with three characters. I already plan to find a relatively empty street to shoot this on. I also plan to be in a lead car with camera monitors and things like that so the actors can just focus on following the car I'm in. I was wondering if anyone had any tips on trying to achieve this. I've researched rear projectors and doing it with a green screen and not that it would look bad I would just prefer the actual look of shooting. I also don't know if mounting a camera to the hood or the side would be affordable because I'd have to get streets blocked off for safety. I was thinking hand held in the backseat for certain shots COULD work. I'd need to do tests but I'm afraid it might be too shaky. Anyone with experience or tips would be greatly appreciated!
  3. I am currently in the very very early stages of pre production for a short I wrote. I am researching how I would go about getting music cleared for a popular artist who is now deceased. I have done all the google searches and been on the us copyright website among a few others. I can't quite figure out which website is the correct one or if the information I've received is accurate and if it is how I go about contacting the current rights holder. I was wondering if anyone has had any experience with this and can give me some tips or point me in the correct direction? I haven't the slightest idea what getting songs licensed even costs, so this is all brand new territory and it may not even be worth it if the cost is astronomical. If someone has tips or secrets please share them. Thank you, Kenny Williams
  4. Totally agree but like I said this hardly seems like an AD that's just what they label it as and I could honestly do it AS a pa, but if they wanna change my title.
  5. Not sure if it matters or not, but I'm going to start with a little of my background. I pretty much exclusively pa on mostly non union reality or commercial projects with a few union shows sprinkled in. Last I counted I had around 230 days as a pa. Earlier this year in the summer I applied to be the in house production assistant for a pretty successful YouTube channel just so I can take a break from the crazy freelance life and be q little stable for a bit. I didn't endes up getting it despite how well the interview went I was told I was extremely over qualified and they'd contact me in the future for other roles they felt I'd fit better in. Fast forward and they contacted me a few times to come art pa and set pa for them. They've recently asked me to come be an AD when they get situated in their new location. Currently the production manager has been doing it. From what I've seen when I've been there it's nothing too difficult. The cast and crew shoot weeky with each other and everything essentially runs itself even with the schedule and the days are around eight hours anyway. I've got a few years experience as a floor director in news, so I'm not completely new to keeping things running I feel I can do it and I'm excited for the opportunity. My question is does anyone have any information on what an AD makes? I have absolutely no idea and dont know which numbers I've founs to be true. Does it matter the type of production? Or if its union or non union? Any information is appreciated!
  6. Finally heard from them saying payment has been processed and is being sent so we'll see what happens.
  7. I have no issue in continuing relationships with people like this. It was my very first time finally breaking into the scripted world I've spent the last 2 years of being a pa trying to get to. I just do reality tv and boy is this a negative experience to start it off. I hope all of scripted isn't like this, but I have no issue being the bad guy. I'm sick of doing it but I've been the guy to speak up for other pa's on other shows and I hound productions when my check is late. Found out once accounting threw my timecard away. After that I realized I can never stop being relentless.
  8. So late September I worked three days as a pa in LA to wrap up a show. I'm trying to get into the AD world, so a 2nd AD I've worked with contacted me needing someone for some scripted miniseries in riverside immediately. I showed up in the middle of the day got tested, filled out start paperwork, etc. So we finish that day and they were on day 20 of 21 but they had added a day. So the next day I show up and there was a covid scare so we all got tested and just sat in our cars for 4 hours before the day being canceled. I billed them for the full day because I was at work. Anyway fast forward to the next day we shoot like 14 ish hours and we're packing up at the end of the day. I thought this was the last day but they were adding one more for a few days later. This was my last day and from what I understand the crew hadnt been paid once yet and this was day 21 of 20. So I asked the 2nd ad who brought me on who do I talk to about getting paid. He said he'd send an email out soon. Cool I'm done I leave I wait a full week until AFTER their last day and heard nothing. I text him and he gives the EP's email from the callsheet to send my invoice/Mileage forms to. I emailed her on 9/28, but last day working was 9/23 so that's when I billed my invoice for. I primarily work reality network television so I rarely deal with invoices and still dont totally understand them. Anyway I gave them a month and sent it off. Never got a reply saying ANYTHING. As soon as I finished that show I was on a few other things so I havent been hurting for money at all. Yesterday was the due date on my invoice and I've still heard nothing. A few days ago I texted the 2nd asking him about it and nobody has been paid yet he said unfortunately this company just takes a long time. I know I'm spoiled I've never waited longer than two weeks for a payroll company like caps or ep or something to pay me. So I don't know what my options are. I've followed up with the ep and I'm a pa so I dont have a union to turn to for help. Should I contact someone else from the callsheet? I've never been in this situation and just don't know the standard operating procedures.
  9. I see. I guess I'm just uses to being on smaller things. Mainly decent sized commercials or reality shows. I've seen columns for cast or director but the contact info isn't listed just that person's individual call. I just find it harder when I'm sent on a run and can't contact anyone because I'm so used to callsheets with everyone's info. Until I need to call someone and have no way of doing so. Guess I'll need to get used to it. Thank you! Just wanted to know why it was such a secret. Nobody would even tell me why.
  10. I'm just confused because I get them on basically everything I've worked on. Is there an epidemic of pa's using everyone's contact info? If that's the case nobody should get the callsheet with contact information.
  11. Anyone have any idea why I wouldn't receive a callsheet? I'm a production assistant and with the show I was on today it is now the second show I've worked where none of the pa's were given a callsheet. Now I receive all the necessary information in the callsheet body email. I know what time to be where and what we eat. I'm mostly talking about the physical document with crew names and contact information and the schedule breakdown. I worked a production late in 2020 for about a month it was union and never once did any pa get a "callsheet" we were usually just given a time the day before. When I asked why I was told because its a union show. That's it. When I asked what that has to do with anything I was given very vague answers. Nobody in productions will answer the question if this happens.
  12. Hello! I typically work as a production assistant I'm kind of new I'll be coming up on two years at the end of this year. Anyways apparently I'm lucky because I rarely if ever have to deal with invoices. I'm usually sent a timecard to fill in start time, breaking for lunch, back from lunch, and wrap time. Recently I've had invoices come up alot, and I have done them before, but when you work O.T. or have a meal penalty on an invoice do you physically calculate that into the rate you write in? Or do you just write in a little description like "pa commercial 3 days" something like that and write your normal rate and then production "knows" we went over those days? I dont know I'm used to in this situation just putting all of those into individual cells on a time card and then when I get my paystubs I make sure they calculated my O.T. and anything else into the price breakdown. I don't know maybe I'm overthinking it, but I've had a production try to under pay me once I dont know if it was intentional, but I'm just really particular about making sure I get everything I'm owed.
  13. I'll keep it short because its alot of information. Basically I'm key pa on a show right running from January - May. It's a amaller show with about 15-17 crew and including talent it's about 25 people maximum. We've been using the same caterer the entire time and a vast majority of the crew have been disappointed by the drop in quality. As far as I know the proper people have been told. However nobody from production is in this country they are all running things remotely. I dont believe its because of covid they just didnt make the trip. So as key obviously I'm speaking with the pm and pc and occasionally the lp about my float, picking this up, picking that up, picking up lunch on certain days etc. So I have some sort of relationship digitally with them. My question is recently we had an absolutely terrible day on set. We were shooting in the middle of nowhere and had a different catering than usual which turned out to be worse than what we had. Because we were in the middle of nowhere we had extra "locals" on set like a fire captain, police captain, medic, and a few others. So we had about 8 strangers that we weren't used to. Almost none of them followed any covid protocol whatsoever and our covid officer was off taking hikes. Once we had breakfast and lunch it was absolutely offensive at the lack of options and the quality of food. Among a plethora of other issues with the day that production dropped the ball on. My question is I'm just the key pa is it acceptable for me to send an email to the people in charge and tell them exactly what me and a few others experienced? Alot of times the ad would communicate with them about certain issues to be resolved. The ad knows about some of things going on yesterday, but he was also overwhelmed by the scope of the day. Should I go ahead and try to compose an email about covid safety concerns and how a few crewmembers didnt really eat lunch we just ate crafty snacks all day while exhausted and dirty in the middle of nowhere. Do I have that right to "complain"?
  14. Appreciate the advice! That's all I'm trying to figure is I wanna know when I'm being mistreated or maybe this is normal. There really isn't a book you kinda just figure it out.
  15. It was catering, so I got to buy myself something at the closest spot which was Wendy's. Long story short I don't really work on that show anymore. There are numerous problems with the way it is organized again, it's a very small crew it's MAYBE 20 total, and its non union reality. I'm starting to realize a "producer" in reality doesn't seem to take much intelligence or knowledge as the same position on a commercial, a game show, or narrative.
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