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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Working as a freelance DP, how to get started?

I agree with Meryem. Move to LA with your long term goal in mind but a more realistic near future plan. I suggest concentrating on one path to break in to working on set. You like lighting, so carve out a few years in your life plan to work as an electrician. Work your ass off and be the best young juicer around, get yourself into 728 and get paid while you learn how the pro's do it. Substitute grip or AC, but whatever category be prepared to go at that craft with intensity and passion. Otherwise no one will take you seriously.

Meanwhile network with every director you can find and offer to shoot their short or indie feature. Rent the camera and the lights or get them cheap from rental houses who will want your business when you are a full on DP.

Best of Luck,
Rob Sweeney
 
Thanks, Rob. I'll definitely move to LA and try to get started as a grip (or an AC). I just want to be on set where the most action is happening. I know how lighting and cameras work; I want to see what tricks people use to get the most out of them so I can then do the same myself.

The one thing I don't understand is when, then, to try to get hired for indie features? It's possible I may get a near-million-dollar feature this year, though unlikely. I'll take it if I can since it's in an area I'm established in, but, otherwise, when to jump the gun?

Is there any chance you'd be willing to check out my reel (posted on the last page) and give me some advice on where I should head? I wouldn't ask but I've seen a lot of shows you've shot and really trust and have faith in your opinion based on that--and I really value any advice you have a lot.
 
Hey Matt. I'm having problems with your reel. I've downloaded it to view but it locks up a few frames after 9 seconds. I tried a number of times with the same result.

Tried to open it in a browser window and it hard crashed Safari.

I don't know if anyone else is having this problem.
 
Cool, I'm starting to figure this out.

I think I'll work as a grip until I've really learned my stuff and shoot on the weekends with the gear I already have just to stay sharp. If my work's only worth $100/day, better to improve that than jump right into it. I feel kind of silly but I'm trying to figure out how to move forward fastest.
 
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There is no magic equation. Set short and long term goals, work hard, and be a good person and one day you will be a DP, or you won't. Either way you will be happy. Good luck to you my friend. I think your passion will take you where you need to go :)
 
Wolfgang B. said:
I usually rent out my equipment for about the same as a rental house or a little less just to give them a reason to hire me. For HD dslr's look at the rates that samys camera or calumet charges, pix as well. I think it's around $150 - $200 per day just for the body. Don't skimp on your rate, very few people will take you seriously if you go to low.
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I agree with this 100%. It's a bit like asking a girl out on a first date by promising that you'll but her a really large gift if she agrees. Either you'll creep her out, or she's really not the kind of girl you wants in your life. Paying for coffee is fine though. The rates on our gear are along the lines of paying for coffee. A slight discount over a rental house, but nothing crazy. The last thing you ever want to look in this business is desperate, and that's what low-balling will do for you.

Free is something else - free isn't putting a price on your time, because there is no price. I've done free gigs for breast cancer research and other causes I felt were worthy, and a real a buddy with an indy is also a cause of sorts.
 
Zakaree Sandberg said:
i second the whole film school thing.. such a waste of time in this business.. NO ONE cares.

its better to just jump in the game and make your own contacts
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Yet, I've never seen anyone without a University degree get very far in this business - it's very rare.
 
Rob Ruffo said:
Yet, I've never seen anyone without a University degree get very far in this business - it's very rare.
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Stephen Speilberg, Stanley Kubrick, Frank Capra, Bernardo Bertolucci, Quentin Tarantino, James Cameron, and Alfred Hitchcock.

None of them attended film school except Speilberg, but he didn't get his "degree" until 2002 (35 years after he started), so I put him on the list:) I would argue that success is not as rare as Rob claims, and there are many skilled professionals in our trade without a degree in film or even a college degree at all. The great part about this industry is that if you are awesome at what you do, nobody cares about a piece of paper with a stamp on it.

However, I do know many people who have landed good jobs because someone from their school hooked them up. I also know many super talented people who attended film school and loved it. There are always two sides to the coin.

I'm not arguing that nobody should ever go to film school. I think it is a great way to learn the business, but its not the only way. Its a personal choice Matt. Whatever you choose to do it is the right decision, because in this case there is no right or wrong. Give it your all and you are on your way. Good luck
 
Let's not turn this into a Film school VS no Film school argument. It won't go anywhere, and there are great examples of successful people for both sides. There's really no proof that it helps or doesn't.

Matt you strike me as someone very well educated and passionate about cinematography. I don't think you're going to have any issues finding work in LA.

I think the message most have said in this thread so far is find a way in, bust ass, and expand your network. Whether its gripping, ACing, or whatever, get known as a guy who keeps his mouth shut and works hard. That's really the key. The visual media industry is so huge right now, and in constant flux it's really hard to judge what the best road will be in the long run.

The best part about this industry I think, is that you have the rest of your life to work at it. If I don't DP some sort of decent feature film until I'm 60....so be it. Maybe by then I'll have grown a few wise whiskers and earned my stripes. I'm in no rush.
 
Couldn't agree more.
 
Also consider work in post production. A one day shoot equals 1+ weeks of post. Like many here, I moved to LA after film school. I started at a commercial post house. Post jobs generally allow the flexibility, and sympathy, to bail for a day or two when you book a DP gig.

And you get to sit with all the producers, directors, agency and end clients as they bitch about all the things wrong with production.
 
Yeah, I definitely don't want to make this about film school vs. not. I'll definitely apply for work in post but eventually I want to get on set, since that's where I hope to work.

Dan Kanes said:
Move to Vancouver or Austin, TX.
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Thanks, and I've heard those cities suggested a lot. I'm looking into some stuff in Austin, but have more connections in LA. The robot footage is from this, which is pretty fun. Should be available to watch in some format some time this year, maybe?

Some recent conversations I've had have convinced me to abandon this ill-conceived freelancing plan in favor of entry-level experience on bigger productions. That's what I'm going to work toward, but I like the "try everything and make connections" approach, since the opposite is what hasn't worked so far.

Thanks for the advice, all. Looks like I'll be saving up for union dues (is it really $6000 to join as a grip?), not that four bank, at least for now. But I'll shoot well-lit youtube videos to stay sharp.
 
I've heard that it wouldn't be smart to join the union right off unless you're working a lot. But I could just be spreading something not worth doing more research on.
 
Like what everybody said - get to LA, meet people, you'll figure it out. That's what most everyone I know and work with in the business did. It takes time but a bit of luck does not hurt. Be involved in as many film related things as you can - film festivals, work at an equipment rental house, like minded people will be there too and there will be many opportunities to shoot.

Don't worry about the Union, it will happen at the right time when you are qualified. You don't have to pay in a big chunk.

Matt Uhry
www.mattuhry.com
 
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