The eternal question for any me and any other stills photographer is how do I get my next job? It’s hard work. Except for maybe those at the very top of the industry, we’re always continuously working on getting our next job and keeping ourselves in the minds of our potential employers. “…it would be...
Film sets can be a pretty unwelcoming place for a naive photographer especially when the photographer puts a foot wrong. You may not always be so lucky as to work with crew patient enough to impart to you the meanings or implications of the strange language that the crew speak. Here’s a few useful bits...
Great Content, I didnt know these…
Mike
I’m glad you found it helpful, Mike. I just read your blog on working on a movie set. Nice article!
Here are a bunch more terms commonly heard on movie sets… some are pretty funny!
http://artfulwriter.com/?p=117
I’ve been reading so many of your articles. I haven’t been able to stay away!
I’ve been a hobbyist photographer for a while and was trying to work out what would suit me best. I finally think you’ve opened up my eyes to a whole new sector that I never knew existed. I know you say that the best way to get into Stills Photography is to use small productions but is there a way that you could assist for a while to gain industry experience from another photographer? Perhaps just to help shooting BTS photos?
Thanks
Hi James, You could try that route there is nothing stopping you. I’ll be honest and say I get several emails from aspiring photographers per month wanting to assist me. As I keep saying, one photographer is barely welcome on most film sets the prospect of having an assistant is highly unlikely, certainly on the projects that I work on. There are occasional opportunities to assist a unit stills photographer on large scale projects but in my observation those are usually made to already experienced up and coming unit stills photographers or experienced photographer’s assistants. All the best!
With great sadness must report that Roger Whitby, such a fine talent and wonderful person, passed away yesterday, Saturday 10 January 2015. A great loss and will be much missed.
For any other American’s out there, Crew Show will generally be called “Marking Rehearsal” or just shouted out as “Marking” or “Blocking”. Final Checks is almost always referred to as “Last Looks” unless your 1st AD is European or Canadian. Hold Fire is generally “Picture’s up” “Picture’s next” or “Picture”. Turn over will simply be “Rolling”. Some added useful terms I’d suggest knowing, “Moving on” generally indicating a new camera setup/position as opposed to just a lens change. “Turning Around” meaning the cameras are repositioning to the other side of to room or “world” to capture the reverse actor’s coverage who was facing away from camera. “Holding the roll” meaning the roll was prematurely called and they’re cutting if need be to quickly correct an unforeseen issue/delay. – 5 year Set Production Assistant on 50+ films/tv. PS. Even as an experienced film crewmember I’ve learned a great deal already from this website! As there’s generally only 1 still photographer per show it can be a very cutthroat business of people wanting to covet their knowledge and trade secrets. So thank you for your willingness to share to the younger generation!!
Thank you for sharing these ones, Steve!
A worthwhile read here, thankyou Angus.
Mike
Do you have any advice for someone with zero connections? I live in Montana and there’s really nothing here… I don’t know where to even start… But ultimately woul love to work toward becoming a stills photographer.
Hi Brittany – I know no-one in Montana, I’m sorry.
Find your local film schools their students will make films and will be a great starting point for you. Really though, if you have zero connections, it’s time to make some. Go to the local film festivals, attend the local film collective’s meetings contact the local directors and producers whose work you admire.
I worked as a stills photographer at Shepperton Studios in the UK in the 1990’s. It was always made very clear to us that we were one step up from the guys who delivered the sandwiches!
After a short while I left and moved into advertising photography – serious money and respect!
Hi Mark, thanks for your input. I really don’t think that unit stills work is for everyone. Choosing the professional path that best suits your temperament and working style is really important. Here’s a couple of examples: I don’t enjoy photographing anyone without their active participation – so I’d be a terrible paparazzi. Similarly, I’m not a huge fan of weddings so I could never see myself pursuing wedding photography.
I’m very happy that you found the path that works best for you!
Hey,
Would you recommend approaching production companies directly form IMDB’s casting notices ?
Or does that appears too out of the blue ?
I met many great independent filmmakers thru mandy its just that none of them have the budget to hire me on books and thats what local 600 wants to see when considering me as a potential member.. so I can actually work like a real person :))
thank you for your time
Olga
http://www.olgagoworek.com
You could definitely try that. You do have to be creative when pursuing new work. Like I’ve said before… getting hired to shoot unit stills is more about who you know than what you know.
Good morning!
I live not too far from Pinewoods studio in the UK and was wandering if you knew of any still photographers who would take an apprentice with them. I am prepared to work very hard and for free just to gain the experience with a reputable still photographer….my motto in life is “if you do things, do it properly otherwise don’t do it at all”. I always wanted to Work in the film industry but Didn’t know about still photography until now. I know I can deliver great shots, (photography is what I breathe for) but I would like the guidance of an experienced still photographer to learn from him or her the correct way. Is that something possible do you think that might be achieved?
Best regards
Isabelle
Hello Isabelle, Sorry for the slow reply. Unfortunately we unit photographers rarely get the opportunity to have an assistant, trainee or apprentice with us on set. The best advice I give is to explore the opportunities for doing the work on short films and other non-professional projects where you’ll get to practice and develop your craft. You can also explore the resources I’ve written and gathered on my Tech Talk page which has lots of excellent insight about how to do and get the work. All the best. Angus
Hi there!
I work in the Romanian music video industry as a still photographer and I wonder what are my options if I want to relocate and find some projects abroad? I won’t discuss the Romanian movie industry, ’cause this is not our main topic here, but I wonder what’s your advice for my situation? If those jobs aren’t advertised, what are my options? How can I reach them?
Thanks! :)
Hi Alexandra, Thanks for your question. I can’t comment on the benefits of moving internationally other than to say that I have and it worked out well for me, but took several years to get professional traction here in the UK. If you were to relocate, I would encourage you to relocate to somewhere that has a thriving industry and you would feel comfortable networking and developing the relationships you’ll need to get regular paying work. Also, it would be sensible to consider other lines of income while you establish yourself as a photographer. I hope this helps?
Hi Angus, What a fantastic website! I love your Tech Talk. I’ve only just discovered your site.
As for getting work, I have completed just the one professional job so far and that came through networking.
Apologies if this is too much detail, but here’s how it went…
A young actor I know (not well known) was about to start work on a low-budget feature film in my local town. The film’s three leading actors are all well known TV faces in the UK. For the time being I can’t say who they are (though I will do when given the OK).
I asked the actor how the table-read had gone and if anyone had taken photographs. No photographer! I asked for the production company’s contact details and offered my services. I was in luck. One of the producers emailed me and asked if I could send over a few pictures of what I’d done previously. I’d never been on a film set before, so I sent some shots I’d taken of street musicians and of local amateur theatre productions. They were good enough to get me the job. Better still, the producer asked me what my day rate was (I was originally thinking of offering my services for free). We agreed a rate and in the end I worked on set for 10 days in total, which included them taking me on location to Spain for four days.
I quickly learned the on-set etiquette (very important). I took behind-the-scenes pics and pics of the actors ‘doing their stuff’ too. The producers were delighted with my work and readily admitted that if I hadn’t contacted them they wouldn’t have used a stills photographer at all.
I came back from the Spain shoot two weeks ago and I am still buzzing – it was one of the best experiences of my life. The producers have already pencilled me in for their next film (shooting at the end of 2017) and through my new-found colleagues (other members of the crew) I picked up another paid job.
I found taking pics of the crew at work were vitally important. They are the ones who are most likely to recommend you to others. :)
I apologise for this being a long comment, but my story proves how important networking can be. :)
Regards.
Ian