Kenny Williams

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 

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!

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 

3 hours ago, Michael LaVoie said:

Tough call for web based new media.  Moreso cause you're brand new to the job so you'd have a hard time commanding market rate.   Typically A 1st A.D. has worked as a 2nd 2nd and then a 2nd A.D. many times on many sets big and small before they ever took on a 1st A.D. job.  Ideally they were trained under a DGA 1st A.D. and know what the job is inside and out before taking it on.  Maybe none of this applies in your case but that would also mean the rate would be probably way lower than what you'll find online cause it's apples and oranges if the experience level doesn't factor in.

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. 

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! 

On 10/26/2021 at 3:22 PM, Vital Butinar said:

Well I'm from a little different part of the world and things are virtually the same here.

Due to the fewer project because of the corona business my girlfriend and I who run our own production company took a side job in March, April and May of 2021. We got a call from this producer that she needed an extra camera operator and a 2nd AD for a game show they were shooting.

So without knowing much of anything we showed up there and basically because of the tight schedule we worked full days for almost three months and it actually wasn't that bad. Only a couple of things sucked like the food was always cold because it got delivered early and us being too late. 

The problem was also the attitude of some of some of the top people, but at one point I got promoted to 1st AD and my girlfriend form camera 6 to camera 2 which was following the host most of the time. 

Anyway after we're done the producers tells us that the first three days are going to be counted as rehearsals and could only be billed at half price, which is BS since we were there the whole day.

Then she goes on to state that since we've never worked with them before that they wanted to pay me and my girlfriend less which is also BS since not only did they call us but we even got promoted form our original positions. Then she surprised me with the information that what we were getting payed contains tax as well which in the end means we were getting payed like a really low wage. Which is also BS since in our country tax needs to be added at the end of the invoice.

So after we got finished I talked to the producer and she told me to just write up the invoice and send it to their accountant. Which I did in about a week and got back a replay that there was a discrepancy between what the producer told me and what they have on their records. This went on for weeks which turned into months and a lot of BS that ended up even lowering the wage again.

We finally got the invoice done to their specs and the producer agreed to have me work on another project were she'd give me a higher wage to compensate for the lower wage on that project (still waiting for that by the way) and yet the invoice after 3 months still hasn't been payed.

I've sent emails to everyone including the CEO and all I get from the accountant is that their client hasn't payed them which is BS since they're obligated to pay in 30 days of the invoice, regardless of their client payment or not. 

Well we're now engaging in a law suite where I'm suing them for what they owe us and the lawyer says that we should ask for a lot more, since they went back on what they were offering initially and because of all the BS by not paying on time. 

Hope it goes well and I also hope you get payed soon too.

 

Finally heard from them saying payment has been processed and is being sent so we'll see what happens. 

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.

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. 

29 minutes ago, aapo lettinen said:

normally the cast contact info is only given to the persons absolutely needing it:  producer, director, makeup/hair/wardrobe, runners transporting the actors, the production manager, line producer, and production coordinator. Only in very small productions they may print that info on the general call sheet because they don't want random persons calling the actors and director in unpleasant times unless absolutely necessary (or their friends calling the actors years after the shoot).  I have only seen actors contact info on very small indie productions call sheets and the director may be listed on the low and mid range productions but higher than about 2mil budget they may easily leave the director out too depending on the production

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. 

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. 

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. 

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.

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"?

18 hours ago, Travis Shannon said:

Hi Kenny,

it looks like you’re in Los Angeles, first of all meal penalties only apply to union contracts, if you’re in the nonunion world you’re just an employee meaning yes you are correct- legally you must be broken by hour 6- the caveat here is that if you are not then you get a “penalty” but it’s not calculated like union penalties, it does not accrue and the total penalty is equal to one additional hour of your rate, no matter how long over that 6 hour mark you eat. Fun fact, calling grace is also exclusive to union shows and there are no California labor laws I am aware of that allow for an extra twelve minutes of work to be performed past that 6 hour mark. Does grace get called all the time on nonunion gigs? Absolutely, and you probably won’t make friends pointing that out to the first AD but it is a good example of seeing how things can get skewed from union to non union- unfortunately these things happens to the PAs even more than it should, my best advice is to continue what you’re doing here which is taking note when something seems wrong and following up on it later. 
 

Note: I’ve been a nonunion 1st AC in Los Angeles for about eight years and through my own personal findings and legal discussions I’ve found all this info to be accurate and have never experienced pushback, that being said I’m not in labor law and anybody that knows better or can source these easily please feel free to chime in. 

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. 

On 8/30/2020 at 10:16 AM, Satsuki Murashige said:

Ah, well good for the Covid officer at least. Was the lunch catered, or individually prepared orders?

For catering pre-Covid, we would usually make someone in our department a plate if they had to continue working during lunch. The keys should know which of their guys have broken for lunch and who is still working, and have meal plates prepared accordingly.

Haven’t been back on set on a crew of that size post-Covid yet, but presumably since meals are now being prepared and packaged individually, this should be even simpler. Just let you boss know you need a meal set aside for you next time. 

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. 

On 11/5/2020 at 1:13 PM, Albion Hockney said:

If you plan to make your pathway through working as an AD or in production in general the best thing to do is to keep getting on set and befriend those people. Ask for advice and do a good job. I often see PA's move into production coordinater/manager roles or into 2nd AD roles over time working with the same producers. Be the most thoughtful person on set and show you can do more than whats expected and just have a good attitude. 

That said people do get trapped into one type of work and if you want to move away from commercial or reality into narrative you need to meet people in that world. At first that might mean just working on low budg short film with out much pay. 

Directing is it's own thing, though production and experience on set is great and those connections can help you that is not the way you actually get work. Lots of directors don't even have a great deal of on set experience, but what they do have is strong creative foundation and a vision for what they want to make, and a good portfolio. Know the type of work you want to direct and start working on making it... even if its commercials, go make commercial specs or make your low budg shorts. 

Working in production can be a great way to support yourself while you try to build a directing career 

Copy that! Whenever possible I am trying to buddy up with coordinators of managers, but often times in my experience they are just back in the PO on their laptop or phone nonstop and I rarely see them on set. At least on the things I've worked on, and I know what I want to do in my career and obviously understand you don't just walk into it. As of now I'm focused on working in any capacity and learning and doing any job on set to pay the bills/ fund my own projects. 

On 11/5/2020 at 11:07 AM, Satsuki Murashige said:

Sounds like you know what you want to do long-term, which is really good. And the fact that you have all those skills from your news career is a big advantage. Is there any reason you aren’t producing, editing, or shooting your own small narrative projects right now?

I know Covid is still wreaking havoc with business as usual right now, but in more normal times I would suggest trying to balance this personal creative development with trying to get onto larger commercials and indie film sets, where you can meet more like-minded crew and mentors. Many PAs, Grip/Electrics, and ACs that I’ve met on those sets are also writing, shooting, and directing their own personal projects and are looking to move up as well. So the more of them that you meet and work with, the more opportunities you’ll have to do what you actually want to do. By and large, I have not found this to be the case with the crews on the reality shows I have worked on in the past - it’s just a different world (or at least it was 10 years ago). 

I also would consider saving up and applying to AFI or other high-end film grad program in the LA area. Again, it’s about surrounding yourself with mentors and like-minded people who are in the same world you want to be a part of.

Lastly, I would suggest looking at every work experience as a learning opportunity. If you’re only actually working 2 out of 14 hours on your next commercial, you can use that time to observe and learn from the various other departments. Maybe the gaffer, key grip, or 1st AC is short handed and could use an extra hand - I’ve often seen PAs get pulled (with permission from the 1st AD) and assigned to help a specific department in those cases. Once they know you and trust you, you’ll likely be getting a call from one of those guys on their next shoot. 

I moved from Sacramento to LA about three ish months before covid shutdown life. I was working semi consistently and moved with one friend from school, but while on set was just trying to meet more people just to find friends in a new city. While not working I was hunting down weekly festivals and was going to go to a writing workshop but they always met while I was on set. I planned to do that after we wrapped, but we never did because covid got shutdown until mid July and you know the rest. Amazingly I've worked pretty consistently ether  through a recommendation or jobs via staffmeup. Definitely  grateful I've met some great people there. I have been writing a lot and just sharpening my skills reading and things like that, but unfortunately it pains me to say this but I don't think the people I moved here with from film school are as "down" for a lack of a better term as I am to just creating to create. So it has forced me to try and find others which I have now just people I've met on set who are kind of getting reality show fatigue and want to create and work on larger productions to learn more. It's really a long story, but I appreciate your feedback and insight! Occasionally I can help the camera department on some of the smaller shows I would work on the DP on one in particular loves me. I don't want to use the covid excuse but it has definitely stopped if not completely altered plans or careers. 

Anyone have any tips on getting pa work? I move to LA from Sacramento almost a year ago and despite covid have been working pretty consistently. I'm grateful that I've been lucky enough to continue to work and dont mind being a pa since I'm still relatively new to work professionally. I've made connections that have gotten me numerous gigs either for a day or 2 or length of the show.  However all I've worked is reality TV and one commercial and music video sprinkled in. I've definitely let it be known my true passion is in scripted tv and film and I've never worked one of those before. Are there any other tips I could possibly try to get into that world? I've talked to many people who warn me not to get trapped in reality. I feel I'm very good at what I do and would just love an opportunity on a film or scripted show because I'm starting to feel stuck in reality.

Thank you! I just didn't know if it was different or not for filling out for invoice vs timecard. I'll circle back with payroll. 

Hello all! I am still relatively new to all of this, and I'd like to think I have a general idea of overtime rates and things of that nature,but usually I just fill out timecards. I just wrapped a 19 hour shoot day and have absolutely no idea how to fill out this invoice. I've done it before but do you actually write in OT somewhere? Because you're just putting days you worked not times. I'm a PA and worked a gig with a 230/12 rate and worked 19 hours. 2pm - 10:00 am. 1st meal at 5pm second meal at midnight. Is there a producer or literally anyone who can show me a template I can use to be able to calculate this type of stuff and make sure I'm getting paid correctly?

Just a little about my background. I'll be turning 25 next month and I worked as a pa at a news station for about 2 years before I moved to LA. I was doing everything from editing, shooting, floor directing, etc in the live often hectic live news. I got tired of news and had an opportunity and quit and worked as a pa on a reality show. Then got another opportunity to moved down in January of this year for another show in LA running until March so I moved. Didnt finish because covid hit a few weeks before wrap. We eventually finshed then I got another show, a car commercial, and then 3 more shows and I'm starting another running through spring 2021 coming up soon. My initial goal was because I've ONLY worked reality or competition shows I wanted to get on something scripted before I tried to make the jump (whatever that is) after being a pa. Not to be arrogant but I feel my time in news prepared me more than your average pa on a shoot for the very first time amd yes I know they are very different worlds. However for whatever reason I feel like even without that experience on something scripted where responsibilities are very different I feel I might be ready to advance or perhaps I could be burnt out. I'm a person who enjoys working and I've done alot of shoots lately where there is 2 hours of work in a 14 hour day so I'm mostly hanging out and I enjoy working for my money not standing around. Anyway although grateful and have done my fair share of insane tasks as a pa I think I want to start looking to start something else. My end goal is I'd love to work up to director, but I can see myself as a 2nd ad in the near future or even a key pa for now. I was wondering if anyone has any advice or if there is even a way to advance or is just luck meeting the right person at the right time? Again I want to stress I'm not ungrateful getting work and I know I'm still very young and have been lucky enough to work more during covid then I ever did. Sorry started rambling I hope this made sense. 

On 9/26/2020 at 12:23 PM, Satsuki Murashige said:

I agree with AJ. You want to meet people who are working on those union jobs and are willing to give you a shot. Larger rental houses are good places to make new contacts while either working there or doing your drop-offs and pick-ups, since both union and non-union shoots use them. Really get to know them, be friendly with them, and let them know you want to work. I’m sure there are a bunch of other ways new PAs have been hired on big shows, I just don’t know them. 

Typically, union jobs mean commercials, movies, and narrative tv shows. There are a lot of union crew who also work on reality shows, live concert/comedy shows, and corporate jobs, but it’s a bit of a different world. Lots of people get a call to crew on movies after working on a big commercial, you’re less likely to get that call after working on a reality show. I’d say you’re more likely to meet good contacts on low budget indie films in the sub-$2M budget range (not no-budget self-funded movies). I’ve met at least four top-tier feature film DPs on low-budget indie films shot in my area, not even in LA.

Good to know great information! I primarily work on reality I've only been fulltime freelancing for about a year currently on my 4th show. Before that I was working at a tv news station doing a variety of jobs for almost two years. I was able to meet another pa a few weeks ago and we became fast friends and she recommended me for a big budget commercial for a day. That was an eye opening experience and I made an impression on the coordinator, so hopefully that can be my break to break out of reality sometime down the line. I am grateful to be working anything in these times and it seems like it's mostly just reality shows shooting right now, but I'll definitely follow theae helpful tips. Thanks everyone!!! 

On 9/22/2020 at 10:03 PM, Satsuki Murashige said:

Don’t know the specific rules about walk-always since we don’t really do those in SF. But I would say, get out of non-union PA work as soon as possible. Since you’re in LA, you will have options once things get back to normal. 

I say this as someone who worked their way up the non-union camera department ranks (only PA’d on a few jobs early on though). We have an unusual market in SF where there’s been enough union and non-union work for experienced local crew to demand good working conditions on most non-union jobs (10hr day, meals every 6hr, OT, arranged parking, mileage outside production zone, full rates, etc). In these circumstances, staying non-union for your entire career is feasible, you’ll just be barred from working on some bigger shows.

Here’s a video from one of my local colleagues about how things work in our market: 

But I recognize that this is not the case in most other places, where non-union work is often synonymous with sub-minimum wages and sometimes abusive working conditions. I think you can get some valuable experience early on doing low budget non-union shoots as a DP or AC - but there’s rarely anything to be gained by being a non-union PA unless you’re just starting out, have zero marketable skills, or don’t have any contacts yet. That’s where we all start, but the sooner you move up, the better off you’ll be. 

Being a PA is a hard enough job without having to deal with crap like walk-away meals and not getting fed. But that’s just my opinion!

Thank you so much for your insight! Is there a specfic way to get into union work? Everything I've ever been offered/worked has been non union. Union work is like Narnia to me and just about everyone I've come across. Is it just suddenly a union job may appear forcing you to join to work it? I honestly don't even know how the union really works I'd appreciate any information or a point in the direction to find information! 

I am a pa and recently worked on a show during the load in week before shooting. It was to my understanding that even walk away lunches were to be reimbursed. Apparently I was informed that if it's a one hour walk away even on a 12 hour day it isn't? I thought legally we had to be fed? Does anyone know anything about this and if it's a lie who do you talk to when you're a non union pa?

Yeah a similar thing ended up happening. It's a very very small crew and it was actually our covid officer who was pushing and fighting for me to take my lunch because the crew had lunch on set hours prior when I returned from all my runs, and he told me that they'll take advantage of people who don't know because of inexperience.