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Howdy all, I'm curious to hear people's personal experiences when joining Local 600 as a DP. I'm currently a non-union DP in LA and doing well focusing solely on that, but I'm getting sore working with lower budget, non-union productions and wish to orient and guide myself in the right direction. I realize that joining the union will not bring me more work and magically make everything wonderful. I'm particularly curios to hear: What made joining the union seem like the right choice? What were the signs? Did you feel like you joined too early? Too late? Is there anything crucial someone trying to get on the path to the union should know?

Any members of the Southern California guild know what the minimum rate is for Low Budget Theatrical for cinematographer or camera operator is? Does this rate apply to "short films" as well?

I'm a DP based in Asia. I have hopes to work on Hollywood films, especially those who shoot in Asia. So, I'm interested in getting into the Local 600, and was wondering if my days outside the US can be counted towards the 100 days needed.

Okay, guys and gals!! I have a few questions that hopefully the wealth of knowledge here can answer. First a disclaimer, (I actually like disclaimers for some weird reason): My goal is to lens commercials, films (short or long format), and the occasional music video. If given the opportunity, of course. I currently work for a production house that does very little in all those categories. So in the best interest of my personal goals I'd like to submit the following questions.: Is there a benefit to aligning oneself (as a cameraman/cinematographer/DP) to an ad agency? What are the challenges that arise when you build up a narrative reel, when trying to get into commercials and other types of work? Is it easy to get pigeon-holed as a “Insert Category” DP, or is that something that one unconsciously gravitates to? If most of your current work is primarily short form narrative; How do you branch out into other categories of work? There have been several examples of DPs rising through the camera department ranks, getting the nod for commercial work, narrative, etc., or gaining an opportunity for narrative work through documentary work; how often does that happen nowadays? Is there something that I may be missing as far as learning about how the political climate of our craft is going? Does that vary from region to region? If so, what is it like currently in Texas? (I live in Houston, where the bulk of the work is news and oil & gas.) Should I talk with a Union Rep. to figure out how I can better align myself with shooting productions in the aforementioned categories? There are only a handful of people in my state, that have any dealings with unions, and I'm wondering; Would it be better to move to another city, and start all over with the title “aspiring DP”? I'm sure I'll have a ton of other questions, but these are the most nagging to me!! Thank you in advance for your epic help!!!

Hey! I'm Marco TOMA Tomaselli italian up and coming cinematographer now based in Los Angeles. I got an offer to work in a big union show as AC and because I'm new to the union's world I got some question that I not found answers yet. I'm applying to IER first but I'm not sure how classify myself. In the last year 85% of the gigs I have is as cinematographer, 5% as cam op and 10% as ac. By the way I got enough hours in the last 3 years in each of the 3 positions. I know that when I'll join the union it has to be as you are classify into the roster and I want to be sure that it will be the right one. I want to ends up being a union cinematographer. I know that the contacts I have will hire me as AC (as CamOp in the best situation) and if I join as cinematographer but I'll work for more than 40 days as AC, I'll automatically downgrade. What the best classification to work with freedom in the camera dept? Can I join as Camera op so I work both AC and in the future as Cinematographer? Thanks a lot, Toma.