Anyone on here do this sort of thing? I did a couple quick searches in here and couldn't really find any pertinent threads. I've got a couple of student productions under my belt, and I think this is definitely something I want to pursue.
Do you all have any advice on how I can get my name out there? I live in Orlando, which isn't exactly a boom town for movie production, but there's always an indie or 2 filming out here.
Also, what's the best practice as far as rates goes? Do you charge a day rate, a set fee for the whole package, or do it on a case by case basis?
I did a few set photographer jobs on some indy films. If you really want to do this, you need to go to where there's movies shooting, and as you stated, Orlando isn't one of them. Although it used to be a movie hub. I actually worked on "Monster" in Daytona Beach and Orlando. Current hotspots are of course Los Angeles, but also Louisiana, NY and New Mexico. Rates are usually per day with no overtime on an indy and virtually no overtime on Union films because they have to pay you big to stay extra, and then you can't step on foot on the set for 12 hours, so they'd start later the next day. Day rates are based on an hourly, though, but it's just easier to state the day rate. Be careful of some indy films. They'll agree to your day rate and then make you work for 20 hours. Day rate is usually $XX per 12 hour day. There's a Photographers Union for movie productions, and I'd highly recommend trying to get into that if you can.
thanks for the response. yeah, i'm not planning on trying to make a career of it here in orlando, just something to help pay the rent until i get my act together enough to get out to LA.
one other question i just remembered... does anyone know what the policy usually is with copyrights? I would assume that in most cases the shots would be owned by the producers, but are there ever cases where the photographer gets to retain the commercial rights to the images?
The motion picture still photographers are in IATSE Local 600 http://www.cameraguild.com/ just like the DP, camera operator and the rest of the camera crew. Check with them to find out about requirements, etc.
The still photographer, like the rest of a film crew, is an employee. Sometimes an outside photographer will come in to do shots for a magazine (like People, etc) and they are treated differently from "set photographers" because hey are not employees of the producer.
The union has a magazine (ICG Magazine) and they do a still issue. Look at the Sept 2008 issue on-line for the article on workflow. Did you know the set photographers don't do their own photoshop?
BTW you don't haveto be a union member to get the ICG Magazine, but you do have to pay $24.00 ayear.
BTW2 if you want to find out the definition of abuse work on a non-union crew in any capacity. Their day rates work out to be well below minimum wage. And lunch/dinner is catered by McDonalds ... if you are luckey!
c.d.embrey wrote:
The motion picture still photographers are in IATSE Local 600 http://www.cameraguild.com/ just like the DP, camera operator and the rest of the camera crew. Check with them to find out about requirements, etc.
The still photographer, like the rest of a film crew, is an employee. Sometimes an outside photographer will come in to do shots for a magazine (like People, etc) and they are treated differently from "set photographers" because hey are not employees of the producer.
The union has a magazine (ICG Magazine) and they do a still issue. Look at the Sept 2008 issue on-line for the article on workflow. Did you know the set photographers don't do their own photoshop?
BTW you don't haveto be a union member to get the ICG Magazine, but you do have to pay $24.00 ayear.
BTW2 if you want to find out the definition of abuse work on a non-union crew in any capacity. Their day rates work out to be well below minimum wage. And lunch/dinner is catered by McDonalds ... if you are luckey!...Show more →
Thanks! I'll be putting in a call to the Orlando office tomorrow to find out how to join. That little tidbit about not doing my own photoshopping... that just put a big smile on my face. I hate having to deal with post work. I'd much rather be out shooting than sitting behind a computer. I'll check out that article on workflow tonight.
I worked on a few features as a still photographer. It's one of the suckiest jobs on a film set.
It is often a job reserved for the producers son/daughter/girlfriend/boyfriend/rehab buddy. Not something I would ever want to do again.
As far as the union goes c.d. knows far more than I do but it's not something you can just go and sign up for, there are many hoops to jump through unless you know people. Is Florida a right to work state?
I was still photog for a low budget movie that became a huge hit and is still using my work 23 years later.
Moving to LA is just going to put you in the middle a bunch of other wannabe photogs. Without connections it's not going t be easy. If you were one of the go-to-guys for the southeast that may be better...
Micky Bill wrote:
I worked on a few features as a still photographer. It's one of the suckiest jobs on a film set.
It is often a job reserved for the producers son/daughter/girlfriend/boyfriend/rehab buddy. Not something I would ever want to do again.
As far as the union goes c.d. knows far more than I do but it's not something you can just go and sign up for, there are many hoops to jump through unless you know people. Is Florida a right to work state?
I was still photog for a low budget movie that became a huge hit and is still using my work 23 years later.
Moving to LA is just going to put you in the middle a bunch of other wannabe photogs. Without connections it's not going t be easy. If you were one of the go-to-guys for the southeast that may be better... ...Show more →
Yes, FL is a right to work state. I'm not terribly concerned with being a member while I'm here for just that reason, but when I do move out to LA, it'll be nice to actually be able to work, considering the unions seem to have a stranglehold on production out there.
And as far as the suckiest job on set goes, I'd prefer ANYTHING that I'd have to do as a set photog to having to clean horse shit off of 5 wire 00-gauge cable as a grip. That was about the worst day ever.
The job itself isn't very hard at all. It's one of the cushiest easiest jobs on the film set. It's just that for about 90% of the time no one really wants you around. Very few of your co-workers will make any effort to let you do your job and you need their cooperation to get decent photos. I was working with people I knew and were my friends, but as often happens once they step onto a film set they go into prick mode.
It's also kind of a dead end job, not to mention the advent of the cameras like Red which can shoot hi quality stills along with the motion, eliminating the need to shoot many stills.
FWIW I'd try to get in the union in Florida rather than LA, then you will be able to make a lateral move to LA rather than starting form scratch.
I;m glad I did it, glad I don't do it anymore. Good Luck
Micky Bill wrote:
It's just that for about 90% of the time no one really wants you around. Very few of your co-workers will make any effort to let you do your job and you need their cooperation to get decent photos. I was working with people I knew and were my friends, but as often happens once they step onto a film set they go into prick mode.
heh... this is something i noticed as well on my first shoot. my solution was to just hang back and fire away with my 135L whenever i could. i stayed out of everyone's way, no fuss, no muss. once everyone got into the rhythm of the production, i started sneaking around with wider lenses, until i worked up to a 16-35L on the last couple days. by that point no one hassled me at all, they were way too busy with what they were doing. it probably helped that i was able to get every shot i wanted (except one) without interrupting what anyone was doing. i doubt seriously that'll work for every shoot, but it's been a good system so far... worked perfectly on the next couple projects.
Here's the thing too, indi films are typically not as well thought out as real production films because of this they probably have not thought to plan out some time for the photographer to take his shots as you will NOT be able to shoot while rolling due to the shutter clicking. Red cameras are the new thing for indies as well and those cameras are AMAZING the files are ridiculous though you've got to have several TB of storage and a monster to edit them.
didn't know they made blimps for slrs, that's awesome... may have to check those out sometime down the line. i've been making due just snapping away during rehearsals and between takes... but that blimp would make my life way easier.
Mickey is pretty much spot on, though it isn't quite as bad as he says. But, yes, it may very well be the Producer's buddy, lead actor's brother, whatever. ect that gets the job. You just really need a blimp and a bit of pushiness to get the job done. Production company has full copyright. Certainly easier to get into this line of work out of L.A. where the union is more of an issue.
c.d.embrey wrote:
This takes care of the sound of clicking shutters http://www.soundblimp.com/ You use a Jacobson Sound Blimp.
The first time I saw a Jacobson Blimp was in the early 1960s used with a Nikon F.
BTW there are rentals houses who rent them.
That is fine until you get one of the sound guys who are afraid of hearing the blimpified shutter click. Then you won't be shooting during a take anymore.
Micky Bill wrote:
That is fine until you get one of the sound guys who are afraid of hearing the blimpified shutter click. Then you won't be shooting during a take anymore.
I've done film work and generally speaking it sucks, the hours are long - 12 hour days - and the pay isn't great. Like some one said, nobody wants you around, (that makes the day longer), and the sound guy can hear a blimp a mile away during a quiet scene. In tight quarters, which is very often the case, there just isn't room for a stills guy. And I.A.T.S.E. may make it very difficult for you to join. Other than that, its ok. Like Mickey said, glad I did it, glad I don't do it any more.
dan
a tip: make friends with the sound guy and the 1st (& 2nd) AD early on!
Check some out here on