Chasing footage for reel

[Jean Bernard]

So I am really tired of chasing people for footage it has gotten absurd!!! I am unsuccessfully chasing even freebies/favors & low budgets for footage for my reel! Even worse is studio movies!

I did a feature, now released, which has a LOT of my steadicam work and has even famous faces(hollywood requires this apparently) when I asked producers for footage they told me to buy the DVD!!!! My long moves been chopped up, some scenes deleted and can't use any of the shots in the edit for my reel. GRRRRRRR!:mad2:

Anyone been in the same boat? How are you handing it? Do we have any legal rights to obtain the footage after release? What are other recourses? Anywhere to complain? Does the union get involve?

Thanks
-Jean

 

[Bryant Swanstrom]

The only way to absolutely get everything you want for your reel is to record it on the day using a recorder on your sled. I use a black magic hyperdeck shuttle mounted to the bottom of my ultra 2 sled. It is discreet and just looks like another box. Make sure not to use the footage until after the movie is released! Also ask permission first... You can usually convince them that it is less hassle for everyone in the long run and if they really don't want you to they just say no.

 

[Nick Gardner]

I'd be careful recording your own copy on TV or movies. That could get you fired in a new york minute. I have worked on more than a few shows where that would have been instant fired, plus you would probably be sued for violation of your NDA. I did a really great steadicam shot I would have loved to have on my reel for an HBO pilot that never got released. The dailies that circulated had watermarks with name of the person they were for so if anything got leaked they could track it down. Needless to say the shot is not on my reel ;-)

Nick

 

[Jean Bernard]

its sometimes about timing when getting footage and getting them from lets say the editor soon after movie is released and even then its tricky especially with domestic or international, tv or web release, etc... Do we have rights to the footage at all? Is there a way to include a paragraph in the contract/deal memo to be guaranteed you'll get footage for your reel?

 

[Bruce Allen]

Ha! All I can say is that it's the same in the VFX and movie trailer business.

The idea is that we accept more money and the prestige of putting something that sounds fancy on our resume... in exchange for the possibility it can never be shown.

You can only put stuff on your reel if it finishes. I've put thousands and thousands of hours of work into stuff that I can never show!

The rumor I've heard for design pitches for Apple is even crazier: they keep a book of all of the designs your company has ever pitched them... and if you've pitched and lost, you're not allowed to use that design again... for them or any other company! The design's dead. Don't quote me on that but it sounds plausible.

Moral of the story is simple: if I am directing something indie and I want to attract talent above my pay grade... I should definitely offer them a written contract to provide reel material. It is something I can offer that the studios don't.

The worse the entrenched powers behave, the more attractive the indie options become if they give you a good deal.

Bruce Allen
www.boacinema.com

 

[Wendell Adkins]

For TV stuff we usually have to sign the standard work for hire contract. Nonetheless we still request the right to use selected clips in our reel, with prior approval after the program airs. Sometimes we get it, sometimes not. But for certain we would never get it if we didn't ask for it up front. I learned from my day job years ago that the T's & C's of any contract are open to exception. Having said that, it works far better if you are in some sort of bargaining position in the first place.