Local 600 Initiation Fees

[Phil Rhodes]

There is a considerable difference between the common idea of a camera assistant fulfilling the role that the title suggests, and the sort of camera department managerial position occupied by people like Greg on big movies.

 

I should make it clear that in my view there are many kinds of filmmaking. Movies of all kinds are made all over the world and at a huge variety of budget levels, and the skillset required for each is both difficult to compare and largely non-transferable. Put the sort of AC who's used to working very hard to create something decent on a DSLR on a nine-figure action movie and they'll probably drown. But the reverse is probably also true; I suspect some of the people who are used to the very big shows would struggle if presented suddenly with the much more difficult circumstances of ultra-low-budget filmmaking. You can claim that it doesn't matter as much, but assuming everyone has some level of professional pride in what they're doing - and at least some of the people at the lowest levels absolutely do - that's irrelevant. It's still someone's living.

 

So this sort of discussion should not be about that sort of willy-waving and I don't think most people want it to be.

 

P

[Giray Izcan]

Mark,

There are plenty of career 1st Acs. It is just a preference really, personally and professionally. I disregard Richard's auto focus comment.

[Mark Dunn]

 

I disregard Richard's auto focus comment.

It's the English sense of humour.

[Guest]

It's the English sense of humour.

 

Mark......exactly, I never have to explain myself to people like you. The Americans on the other hand, well... :D

 

R,

[Keith Walters]

And yet you refuse to acknowledge how many US shows leave or have left the US so they can escape the tyranny of the unions. Many have also left Canada, as Canada has chosen to import the US unions into Canada. Which was not as good of an idea as importing Thanksgiving.

 

Please tell me why Lucas shot all three Star Wars prequels in Australia? They were big budget movies released globally. You seem to think only small low budget features are shot outside of the US and Canada.

 

R,

Actually, it was only episodes 2 & 3, although some Post work for Episode 1 was done here.

There were also The Matrix movies, various flavours of Mission Incomprehensible, and the new Thor movie is to be shot here, amongst many others.

Australia also lost a huge amount of well-paying work to New Zealand, largely thanks to the ongoing crackpot efforts of Actors Equity.

But yes, an awful lot mega bum/seat interactions also came via Noo Zeeland.

The hardest thing for Americans to get used to seems to be the fact that here, an electrician could ask a carpenter to hold a ladder for him, and not face union disciplinary action. That, and the lack of input from the Teamsters Union. Strangely, actors actually seemed to enjoy being driven around by whoever wasn't doing anything at the time, rather than some bloated union Neaderthal sweating in a cheap black suit...

[Guest]

Actually, it was only episodes 2 & 3, although some Post work for Episode 1 was done here.

There were also The Matrix movies, various flavours of Mission Incomprehensible, and the new Thor movie is to be shot here, amongst many others.

Australia also lost a huge amount of well-paying work to New Zealand, largely thanks to the ongoing crackpot efforts of Actors Equity.

But yes, an awful lot mega bum/seat interactions also came via Noo Zeeland.

The hardest thing for Americans to get used to seems to be the fact that here, an electrician could ask a carpenter to hold a ladder for him, and not face union disciplinary action. That, and the lack of input from the Teamsters Union. Strangely, actors actually seemed to enjoy being driven around by whoever wasn't doing anything at the time, rather than some bloated union Neaderthal sweating in a cheap black suit...

 

Uh oh Keith, you're gonna rile the union boys with that post!

 

R,

[Neal Norton]

I think the very handsome incentive programs in various parts of the world have much to do with American runaway production as well as the lower over all labor costs in some parts of the world. Maybe the beautiful locations in places like New Zealand have a little to do with reasons producers shoot there as well. Atlanta and New Orleans are very busy here in the US and I think the tax incentives play a major role in that reality. . . even with union crews on most jobs.

 

All human interactions are subject to less than perfect behavior - because, well, we are all pretty imperfect humans. Unions, much like other organizations such as corporations, governments or religions can do harm as well as good. Producers can be incredible story tellers and risk takers that deserve our admiration and they can also be less than fair on occassion.

 

I have been a member of the Camera Guild for almost 30 years and I can say with certainty that I am very glad to have made the decision to join and remain a part of my union. I have a fully vested retirement plan that will provide a measure of security when I do retire and I also have a pretty good IAP (investment plan) that will be a big help as I grow old. I have had a reasonable health insurance plan for the entire time I have been in the union and I am grateful for that. . .here in the USA where the uninsured or under-insured do receive substandard or no medical care. I am very grateful to the Producers and Production Companies that have hired me and payed me very well and payed for my benefits packages and I hope in most cases thay have made a great deal of money for their efforts of which I was a part. For the most part I think the Producers I have worked for understand that the union I am a part of is maybe the only way to provide a stable career in a business where my services are needed and desired on a sporadic basis. I only work when the Producer needs me so the benefits packages help to create a way I can remain available for the next job down the road.

 

I strongly encourage a young camera person to consider union membership. It is a very good way to build a long career and maybe plan for retirement someday.

 

I am sorry that Richard feels he has been mistreated by our union and I hope some day we have a chance to try again and work together as collaborators on the projects he works so hard to make a reality.

 

Best to all!

 

Neal Norton

Director of Photography

 

 

[Phil Rhodes]

I have a fully vested retirement plan that will provide a measure of security when I do retire and I also have a pretty good IAP (investment plan) that will be a big help as I grow old. I have had a reasonable health insurance plan for the entire time I have been in the union and I am grateful for that. . .here in the USA where the uninsured or under-insured do receive substandard or no medical care. I am very grateful to the Producers and Production Companies that have hired me and payed me very well and payed for my benefits packages and I hope in most cases thay have made a great deal of money for their efforts of which I was a part.

 

If there's a problem with this, Neal, it's that you would probably have done just as well without the union.

 

There will always be more successful people and less successful people. From what I've seen, the presence or absence of a union doesn't really affect that very much. Here in the UK, for instance, there is no effective union. There is still what you would consider to be union work, and what you would consider to be non-union work, based on the comparable sort of pay, conditions and productions involved.

 

There are still (a minority of) people who make a nice living out of the film industry and (a majority of) people who make a less nice living.

 

The union doesn't really make much odds, from what I can tell. At best, it codifies who does well and who doesn't at the whim of the people who control admission, which as far as I can see is not particularly helpful.

 

P

[Keith Walters]

Maybe the beautiful locations in places like New Zealand have a little to do with reasons producers shoot there as well.

Neal Norton

Director of Photography

 

 

Yes, there is some of that, but the counter-productive policies of Actors Equity are legendary here.

In any event, movies are still largely shot on sound stages, so there is no particular need for the whole thing to be shot in any particular country.

[Keith Walters]

 

Uh oh Keith, you're gonna rile the union boys with that post!

 

R,

Oh well, I guess I've blown my chances of ever working on a US production. (Well, in the US anyway...)

I'll never be able to own a Red because of my "Bad Attitude" either. I guess I've squandered all my opportunities, haven't I....

[Keith Walters]

 

. Producers can be incredible story tellers and risk takers.....

 

Neal Norton

Director of Photography

 

 

"Producers can be incredible story tellers"

Yeah, in the development process, but not necessarily in the final product, where it counts...

 

"and risk takers....."

and usually with somebody else's time, money and equipment...

 

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[Mark Dunn]

 

If there's a problem with this, Neal, it's that you would probably have done just as well without the union.

 

We don't have to worry about healthcare though.

It's nice to hear from a union member who doesn't see producers as the enemy.