Category: freelance

Not One Size Fits All – Easyrigs and You

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I’ll never claim to know it all. I’m a camera operator and there’s always going to be gaps in knowledge, new technology to learn, or new techniques to master. And you too should never stop learning.

So when I entered season 3 of a reality show, I was definitely surprised when the Easyrig production provided for me just didn’t feel right.

For those not in the know yet (and that’s okay, remember what I said about learning?) – An Easyrig is a camera support system that helps reduce back strain especially when doing handheld with heavier cameras. You probably wouldn’t use one with a smaller camera, like a Lumix or A7s, but for your bigger cameras, it helps a lot to distribute the weight.

It’s sort of a vest thing – different from the Steadicam because it’s a lot softer material in the front – and it has an arm over top that carries the camera via a clip and string. Everything’s attached to a pulley system inside the hardshell on the back.

There’s straps and things to help you adjust it to your body but what I didn’t know… was that the Easyrig wasn’t one size fits all.

We started a scene in an office where a bunch of cast members were doing a meeting. It was going to be a long scene, we knew that. It would be difficult to stop and start again, so we prepared for the long haul.

But as I was operating, I felt the vest slipping lower and lower. I tightened it to the point where it was nearly suffocating, and it was still slipping. The lower portion of the vest where there was a hard point eventually rested on the top of my thigh, and I tried to push through the discomfort.

Of course, that’s when my leg began to go numb.

I kept trying to readjust my body and how I was holding the camera in order to find some relief and power through the rest of the scene. But it wasn’t working. My leg was tingling and going numb and I knew there was a problem.

I finally got on the walkie – something I try not to do during a scene unless it’s absolutely necessary – and called out to production that something was wrong and I needed to set down my cmaera.

Crickets.

Unfortunately for me, they either didn’t hear me or nobody knew who should answer. That’s a problem.

My leg was getting worse. I was probably just going to cave and set the camera down mid-scene, which was something I was loathe to do. I called over walkie again. No response. But then my DP came in and said “Hey, my B cam needs a break. We’ve got to stop now.”

And we did. I took everything off, re adjusted again, took a mini-breka, and went back into it. The rig was slightly better after the break but… it was still starting to cut into my thigh. I found myself hiking up the bottom of it just to keep going with the scene. It was rough. I knew something was wrong.

I ended up calling 16×9 Inc for help. 16×9 Inc is an authorized Easyrig dealer, and the guy on the phone (I’m so sorry I don’t remember your name) walked me through what I needed to know about Easyrig fits. We decided that the right size for me would be a different model, the Easyrig Gimbal Flexvest.

When I got the new Easyrig it was like the clouds finally parted and I could see the sun.

So now I’m the first person who will tell female and smaller-framed operators “Make sure you get the right fit. Easyrigs are not all created equally. They are not one-size-fits-all.”

Putting the Easyrig on

The Easyrig slides on sort of like an awkward, top-heavy backpack. Whenever putting on or using the Easyrig, you need to be aware of your surroundings and of the people around you. You are now taller and bulkier, plus you have a camera that could swing free and hit someone if you’re not actively controlling it.

I usually adjust the waist straps first to get the rig situated properly on my hips, then clip on the chest harness part. Tighten straps for the chest harness so it’s snug, and do the same for straps that are connecting the top to the bottom.

Test the fit by grabbing the vest and seeing if it moves. If it does, you’re not tight enough. Then also test the length of the vest by seeing if your legs can move freely up and down without hitting the bottom of the vest. If anything moves, tighten stuff up. If’s its all the way tight and things still move (especially when you put weight on it) it’s time to consider a different rig or a different method to operate the camera.

It it absolutely not worth hurting yourself to accomplish any shot.

Instructional Video

Dom from LensProToGo goes over how to fit the Easyrig on your body in this video:

Be safe while operating, friends!

Podcast update

We’ve been hard at work bringing Lights, Camera, Remake to life. We are currently up to 11 episodes on Spotify and I’m slowly uploading the episodes to Youtube as well.

We will be looking for sponsors as we grow.

In the meantime you can support us by following on your podcast streaming platform of choice and sharing the episodes or reels we put out. This is a labor of love and we enjoy sharing it with everyone. The response has been wonderful so far.

Instagram: https://www.instagram.com/lightscameraremakepodcast/

Youtube: https://www.youtube.com/@LightsCameraRemakePodcast

How to Avoid Film Job Scams – Take Nine

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On the Facebook film page I help manage, we’ve been getting flooded with scam posts again. They sneak into the group answering the group rules and questions, pretending to be real people, and then they post something like this garbage:

In my annotations, I marked in yellow the bad English grammar usage. In Red we see where it is obviously a scam.

For some reason, the scammers love to advertise a weekly payment.

As I see them, or as they are reported by community members, these scammer posts are deleted and the user is banned. Sometimes I’ll post about it on the page immediately after and hopefully catch whoever might have already emailed the scammer. But since it is nearly impossible to keep up with scam posts (I just can’t be on the page 24/7 people. I know.) my main goal is to educate our populace so that we all know what signs to look for.

Check out this similar scam job posted on a Florida film group:

I’ve redacted some identifying info like the full email and the name of the poster for two reasons. 1: the name might belong to a real person who was hacked or is being impersonated. 2. I don’t want someone mistakenly reaching out to this person.

To be fair, there’s not a lot in this particular scam job post to clue you in, but we will note a few things here before we dig deeper:

In Yellow: Things that are suspicious. One, “we are seeking” has been in a lot of scam job posts, but it is not necessarily only used by scammers. Two, the weird email they are using. Doesn’t look professional at all. But a scammer might use gmail or something that looks like a company email and a real person may be using a weird email. So it’s not a huge red flag.

In Blue: Some misunderstanding of how professional film people work. We see them stating their budget – not necessary for a PA or a Set Medic to know. But some folks might post this (see how this gets difficult to tell a scam job post?). We also have them clarifying that Production Assistants are also “PAs.” It’s nitpicky but you shouldn’t see that kind of explanation of film terms in a job post.

In Purple: I redacted part of the name but I’ll tell you that a lot of these scammers have been using weird, backwards names. Like Smith John instead of John Smith. I think it’s because they’re stealing the real John Smith’s info but reversing the name. I’ve seen this before with Jeffery Cooper/Cooper Jeffery, though the jury is still out if there was a real guy being personified or if this was just a fella using every random name he could think of.

Luckily, we can see what happens after you contact this potential job. I’m redacting their info as well, but we will call them Lily.

Lily applied to the job after seeing it on the Florida film group. Lily then received texts very soon after applying:

In Yellow: Bad grammar.

In Blue: This scammer clearly posted this scam elsewhere, because they mistook Lily as being in Pennsylvania, instead of Georgia or Florida (the group where it was posted). The scammer then immediately disregards Lily asking if the production is in Pennsylvania because they are just responding with a copy/pasted response.

In Red: Here’s the hallmarks of the scam. They try to lure you in with a flexible working situation that “won’t interfere with your current job.” That’s not how productions work! At all! They also talk about the weekly rate here, which I’ve pointed out countless times is a scammer tactic.

In Blue: Here we have a weird misunderstanding about how production works. This is continued in the next screenshot below. This person is telling a PA about a meeting and discussing the synopsis of the movie and all that. A PA would not need to be at that meeting or need that information. I don’t know why they think including this makes it seem more legit. It just makes it clear they don’t understand the film industry.

In Blue: Continuation of the weird meeting mumbo jumbo. “You’ll also have the opportunity to meet the crew!” Oh how cute. Typically that’s done on … day one of the production. Like everywhere else.

In Red: More scam red flags. A job offer letter is something a traditional job may give you, but productions are short term. If anything, you should be receiving a deal memo.

If you see a suspicious job post in a Facebook group, make sure you report it to the group admins. And if you start getting suspicious texts like these, check it against the red flags we’ve gone over here and in other installments of “How to Avoid Film Job Scams” in order to best arm yourself against a scam.

Sources:

Federal Trade Commission – Consumer Advice: How To Spot, Avoid, and Report Fake Check Scams

How to Avoid Film Job Scams – Take Eight

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Since I began this blog series on scams in the film industry, I started a folder on my desktop whenever I found a questionable job so I could put it in the next entry on the topic.

But… I couldn’t keep up. There’s too many. And the same names will pop up again and again, but new ones do too. There’s no way to truly catalogue them, so the best I can do is show you some examples from time to time, list the red flags, and hope to keep you from being taken advantage of in the future.

Google the E-mail

Scammers are a bit lazy too sometimes. You’ll see the same e-mail used by many different screennames. I’ve been chasing this mikebeebee email since at least July this year, having saved examples of this scam from different Facebook groups. I’m mentioning it now because it’s one of the recent ones to plague a group I manage.

This scam email was also used in July, when I saved these screenshots:

As you can see, it’s multiple names and “jobs” but the same scam email. I did blank out most of the names that posted because it’s likely they are hacked accounts and innocent of this posting. Or they could be completely fake profiles. Either way the most important thing is understanding the details of the scam.

Most recently, this one was posted:

Now, what happens if you apply to the fake job? You’ll likely get this email, with the name changed depending on the fake person you’re communicating with. Email screenshot attached with annotations explained below:

In Yellow: Generally bad grammar and grasp of the English language, so it’s likely an overseas scammer.

In Blue: If you are a professional, you do not need an explanation of how to do your job. This is a complete misunderstanding of how professionals are hired for a film set.

In Green: They use “kindly” which a lot of scammers use for some reason, and they’re also asking for all this identifying information. Probably for identity theft or to further sell your information to future scammers.

In Red: This part is where you know it’s a scam. The guy claims he will pay you $2000 before the job. Never, ever accept payment before a job is done. This is a check phishing scam. They are just trying to steal Your money, which they will do once you see the second part of the red section: “This covers your $1500 upfront payment and the talents'(sic) fee ($4,000) payable to their manager.“

This is how the check phishing scam works. They issue you a fake check, and before your bank notices the check is fraudulent, you’ll be issuing a check from your own balance to pay the “talent” who is actually the scammer. You are out at least $4,000 at the end of this scam.

According to the FTC, “Fake checks can take weeks to be discovered and untangled. By that time, the scammer has any money you sent, and you’re stuck paying the money back to the bank.”

Production Assistant Scams

This latest one was brought to my attention by a community member on a page I moderate. I’d had my suspicions about the job when it was posted, but I didn’t have enough info to delete and ban the poster until I received further info.

Here’s why this job looks suspicious at first glance and why I didn’t delete it immediately.

  • Casting call – for a production assistant? You only do casting calls for actors. Crew calls for film crew. I chalked this up to someone green in the industry.
  • Grammar “Seeking for.”
  • 3 days, 4 hours of work for a lump sum payment of $700. Again, I thought this was an inexperienced person who doesn’t know how day rates work. But 4 hours a day is suspicious even for a short film.
  • The poster turned off comments. Scammers do this because they know people will start calling them out in the comments. But insecure people also do this.

I couldn’t annotate this one because as soon as I started, I realized I was underlining the entire thing in red. Let’s look at those emails!

Red Flags:

  • Giant block of text. Most gigs will email at best like two sentences to see if you’re available.
  • Atrocious grammar and spelling. They don’t even spell their email correctly.
  • Wishing you good health. This is America, we don’t have that.
  • Apologizing. For some reason a lot of scam communications start with apologizing for being so busy. Maybe the intent is to make them look like they are in high demand or something.
  • Audition – for a production assistant? Oh no honey. But this detail confirms my suspicion that this was also a copy & pasted scam for an actor as well. Remember how the job post was a “Casting Call”? I bet this same scam showed up elsewhere targeting actors or models.
  • I laughed at “Camera Man.” The term is camera operator. But they probably meant Director of Photography.

Let’s look at the next email!

Red flags:

  • Scammer asking where you live (including the state).
  • Audition and PA again.
  • “Is that rate cool with you?” No. Because it’s fake.
  • Are you available the dates we already established?
  • Why are they asking what you’re currently working on? This is none of their business.
  • Asking for years of experience for an entry level position.

And here is the grand finale:

Red flags:

  • Advance payment – It’s a check phishing scam!
  • Also… sponsors? Wth.

Thanks to the community member who sent the screenshots and reached out with questions about identifying scams.

Sources:

Federal Trade Commission – Consumer Advice: How To Spot, Avoid, and Report Fake Check Scams

The Evils of the Rolling Take and Reset

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Let’s dig into a pet peeve of many on set: the rolling take.

A rolling take is when you keep shooting and keep repeating the action. Like an actor walking in to a room who flubs a line and goes back to start it over again. That can be a valid reason for a rolling take. No need to re-slate and re-call action. Just try it again.

An Insert Shot: A watch being picked up and brought into the frame is a valid reason to do a series of the same action without cutting in between.

A rolling or series take might be done on a particular insert shot to get it right. Let’s say your actor needs to throw a letter to land on a desk just right. The director might ask for a series or rolling take in order to keep attempting that throw to get it the way they want. No fuss, no muss, and no wasting extra setup time to get that insert shot that you’ll see for two seconds on screen.

Directors don’t work the slate but I’ll allow this since it’s clipart.

Imagine this scenario: It’s after lunch. The Assistant Director is informing everyone for the third time that you are now an hour and a half behind on the schedule. You have several more scenes to light and shoot and somehow you have to make up a significant amount of time. Hence the anxiety that leads inexperienced directors to try shortcuts. One of those shortcuts is overusing a rolling take.

After experiencing this on a number of films, I’ve observed that green directors love to overuse the rolling take. They’re feeling the pressure and just trying to get footage in the can. The AD, meanwhile, is just trying to make their day. Now suddenly, you’re filming scene coverage as a rolling take, not cutting when you reach the end of the action, but waiting for the actor to reset and just going with it, maybe for multiple “takes.”

A rolling take going on and on is more trouble than it’s worth.

Time = Money

First, what should be obvious — you’re using up footage. This became less of a crisis when most of us went from actual film stock to digital, which is a much cheaper alternative, but digital does not mean free.

Film costs include the film stock, developing, processing, and digitizing so you can edit on a computer.

But just because you can hit “record” on a camera doesn’t mean that doesn’t cost money. Each card needs to be purchased, and you need to have enough available media to get through the day’s shooting without having to write over those cards with additional footage. Ideally, you want your DIT or media manager making backups throughout the day. That means the production also needs to purchase storage and backup storage for that media.

So let’s say you think you know the costs and you’re still cool with doing 40 minute takes instead of a few 5 minute takes. All that footage needs to be downloaded and viewed, meaning you’re paying for the media manager’s time to download that footage and make copies, as well as the editor down the line. A single 40 minute clip is just going to take longer to download and transfer. And you might be paying overtime to the media manager who is staying late dumping all that footage.

Wear and Tear on Cast/Crew

In the moment, if you abuse the rolling take, you’re quickly using up the energy reserves and physical strength of your cast and crew.

You’re also using up your camera operators and 1st ACs and boom ops and everyone doing something physical for that scene that no longer get that tiny bit of rest to reset themselves.

  • The cast has to stay in-the-moment and may get frustrated, flubbing lines more and more.
  • The boom op has to hold that boom pole and actively follow whoever is talking without getting that small break in between.
  • The camera operators might be doing handheld or Steadicam and are using up their muscles faster.
  • 1st ACs, staring at a screen for minute changes in focus, don’t get to rest their eyes.
  • Script supervisors’ notes get complicated as the same scene plays out multiple times in the same take.

When I’m doing Steadicam or handheld, my least favorite thing is a rolling take, especially if it’s long. I just need time to reset. Sometimes there’s an adjustment needed in a handgrip on a shoulder rig or I need to fix the balance on the Steadicam.

Other concerns? Using up batteries! You might be playing beat the clock with what battery you have left in the camera or on the mic packs.

Closing Thoughts

Using a series or a rolling take can be done with purpose. It’s just another tool in your kit. Abusing it can lead you to creating an uncomfortable work environment for your crew. So before you panic and decide to just “roll on everything” look at it critically and see if a rolling take is necessary or if you need to re-evaluate and be more concise with your time.

Selecting the Best Festival for Your Film

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I saw a post online by someone asking about film festivals. They asked if Tribeca, Sundance, and SXSW were the “only” ones. There were a lot of comments at a varying degree of helpfulness.

Let me overwhelm you real quick — There are literally thousands of film festivals. So how do you choose?

What’s your budget?

Not of your film’s production, but to submit to festivals. Submitting to film festivals can cost anywhere from $15-75 or more depending on late fees. Apply early to get the best deal, but that means starting this research early too. Maybe even while you’re in production on the film. Or pre-production.

Submitting to film festivals costs money. You’re going to want to be targeted.

Know your film

Do you have a short or a feature? Was it a student film? What genre is it? All these factors are going to determine what film festivals you should be considering.

Do you have a cyberpunk scifi fantasy? Might not be Tribeca material.

Do you have a sappy romance? Not the right vibe for Sick Chick Flicks.

Research the Festival

Alright, so you’ve made a shortlist of festivals that will accept the length of film and the genre. Now you’ve got to narrow it down more.

First, is the film festival legit? Unfortunately, there’s fests out there that are not honest or forthcoming about what they provide. Some are what’s called “awards mills” that just give an award to anyone who submits. This award, and this festival, is therefore useless in proving your worth.

Other questions are: Do they screen all selected films? Is it screened in a real theater or just some random location? Does the film festival have a proven track record or is it brand new? When in doubt, Google the film festival and see if any complaints come up.

What are the Perks of Submitting to the Festival?

Do they offer great awards like representation, film budget funding, or meetings with high profile producers in the film industry? Are there professional judges? These are certainly bonuses if you submit a film and its received well, because it could possibly lead to more work for you in the future or some good meetings with the right people.

Target the Right Locations

There are film festivals everywhere, but you should have a few nearby that you can actually attend.

Attending film festivals is a form of networking, and it looks better if you’re there in person to meet with people and talk to other filmmakers about their films.

Take Advantage of Panels and Special Attendees

Piggybacking on my last comment, film festival attendance is a great opportunity to network, learn and grow as a filmmaker. Make sure to note whose work you like, who you should reach out to later and talk shop with.

If the film festival has informational panels, even better! Go and learn. When appropriate, talk to panelists and ask smart questions, but don’t take all their time. They’ll appreciate the enthusiasm and the consideration to their time and knowledge.

Closing Thoughts

Getting your film into festivals should not be the final decision you make — it should be a well informed decision you develop over the course of pre- to post-production of your film. Choosing the right ones gets you that much further ahead.

This has been on my mind because I’ve been in talks with someone about creating a local genre-specific film festival in Atlanta, and I want to make sure it’s the best it can be on its first year.

Need more info and tips for submitting to film festivals? Check out the sources below!

Sources:

17 Tips to Find the Right Festival for Your Indie Film

How to Submit to Film Festivals: Tips from an Industry Screener – Adorama

Film Festivals: Where to Submit as a New Filmmaker – Backstage

    How to Avoid Film Job Scams – Take Seven

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    This is the seventh installment of “Bridget gets way too wrapped up in calling out scammers.” You know what to expect.

    Let’s look at some new examples:

    Turning Off Comments

    Scammers have gotten wise to us warning each other via the comments section whether something is amiss. If someone posted a job and imediately turned off the comments, I want you to be wary.

    What other details can we see here? I marked a lot of stuff in blue in this screenshot.

    • Mixing up Production Assistant/Personal Assistant
    • Saying this production, which they haven’t filmed yet, will air next month. As if!
    • Veles Productions (I covered a similar one in another blog also pretending to be Veles Productions.
    • The Day rate. Oh boy we have to dig into that one.
    • Bad grammar, improper use of English: “driver’s license in effect,” “be conversant with terminology.”
    • Incorrect job duties: Asking a PA to “guard the set” and help with lighting, props and more miscellaneous stuff.
    • Calling the crew “staff.” I’ve never heard that used on a film set. Ever.
    • Claiming these are 3 hour shoot days. Even the jobs that claimed to me they’d be a few hours ended up being like 13 hours.

    Veles Productions is a real production company. They’re based in Poland. But they’re not the ones behind this. Scammers steal real production company names, director names and more to pretend to be someone else in order to trick you.

    That Day Rate:

    $125.21 for 3 hours.

    First off, a “day rate” is usually going to be for a larger chunk of time, like 10 or 12 hours, and after that there’s overtime. Occasionally you’ll see a live event job or a corporate gig that’s only a few hours.

    But this fake job post is trying to lure you in with the promise of high return with little effort. They claim you’re working 3 hours a day, total of 12 hours in the week, for $1503.

    Let’s not forget that this “day rate” of 125.21 for 3 hours equals about $42/hr. Which is astoundingly high for a PA. That is like a camera operator rate on some gigs. Then if you do the math, $42/hr x 12 hrs = $504. Again, like I’ve pointed out in a previous blog post, the math just isn’t mathing.

    Say hi! Cutesy weekly payment scam

    Here’s another one pretending to be a well known company.

    This is the type of post that’s way too conversational and cutesy. I’ve seen this “Say hi!” post format a million times. Productions are not going to care if you “say hi.” Sorry not sorry.

    Other red flags:

    • “is seeking for a production assistant” bad grammar
    • weekly payment
    • Say Hi + emoji
    • gives a clearly international-leaning number. The +1 is the US country code, but it’s possible this scam is meant to scam anyone in the world. And they could just buy a spoof number.

    Scamming Models

    This was one that graced the Atlanta Film Production Group for 4 hours before I was able to delete and ban the poster. First, I commented on the post, asking for clarification. Why were they asking for models to act? Wouldn’t you want actors? The poster claimed they wanted models and actors. it still didn’t make sense. Finally a community member came into the comments and said it was a scam. It had been posted in another city with the same dates and details. I did a quick search on Facebook to confirm, and deleted it.

    Also look at the comments. The poster’s English is awkward. Saying for the other guy to “go to bed” and “Don’t rubbish another persons project and dream”. That last part feels like British English but even that seems wrong.

    Would you like to PAY to WORK on a movie!?

    This one is astounding. I covered a similar one in January with another Christian film who wants extras to pay to appear in the movie.


    You want me to pay to work on your movie? I’m sorry hun, that’s not how this works!

    • Look at that AI generated image! They don’t have anything real to show.
    • claiming this is a hands on learning experience, hoping to take advantage of newbies.
    • Angling the post at teenagers. Wow that’s like extra illegal?

    This screenshot was re-posted to Crew Stories (a pretty fun Facebook group if you haven’t seen it) and the comments have torn it apart. Apparently this Aaron guy has been trying to fund and make this film for like 10 years. Other commenters had personal experiences with the individual and presented their misgivings.

    So, what did we learn?

    The same old, same old. Look for weird numbers and unreal rates and job positions. Look for incorrect film terminology or a misunderstanding of job titles. Google search names or posts to see if it has been posted or called out elsewhere.

    Stay safe out there folks.

    Does the Art Directors Guild Suspending their Training Program Signal a Massive Change?

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    Recently, this article made the rounds:

    Read more on IndieWire.

    The Art Directors Guild, IATSE 800, is a union representing over 3,000 Art Directors, Illustrators, Scenic Artists, Graphic Artists and Set Designers in the film industry. In the article, we learn that the Art Directors Guild sent an email out announcing they will suspend their training program due to the 75% unemployment rate among its union member’s ranks. This decision is entirely reflective of the ripple effect of the SAG-AFTRA and WGA strikes last year.

    “The industry has not resumed a full, pre-strikes level of productions, and it remains unclear if a return to that status quo is possible in a Hollywood gripped by ever-higher costs, ever-lower revenue, and increased production abroad.”

    -IndieWire

    This also brings to mind how many people I see announcing they are moving to Atlanta and looking for connections in the local film industry. That’s fine but, I hope everyone and anyone who is thinking about going into film for the first time or moving to continue their film career does a bit of research first. We clearly haven’t recovered from the two strikes last year (necessary though they were, they also hurt financially). I also question if we ever fully recovered from 2020, when the pandemic shuttered production across the world.

    But with a pandemic that encouraged people to stay inside, there ended up being a lot of TV being consumed. The streaming companies — Netflix, Hulu, Disney+, Paramount, etc — got excited.

    In 2021, Netflix boosted their budget almost 30%, putting $13.6 billion into content spending. This article from 2021 predicted their budget would balloon to $18 billion by 2025. An sharp upward trend seemed likely.

    In 2023, Netflix content spending was around $17 billion. And before you point out “but 17 is so close to 18!” I need you to realize how vast a number 1 billion represents. If we were to use time as an example: 1 million seconds = 11 days . 1 billion seconds = 31 years.

    Streamers are focusing on more original content in order to keep customers interested. There’s also a noted shift into reality style television, as shows like Netflix’s Nailed It cooking competition series are still popular and much cheaper to produce than narrative content. I’ve also talked before about these companies not greenlighting projects and just outright cancelling them to save a buck.

    The streaming companies blew their budget on a dream, and now the bill has come due. They over estimated their profitability while fighting each other for market dominance. Instead of one triumphing over the others, we have a consumer base watered down and split amongst many services, if they even have streaming at all. Who misses cable now?

    There is also likely a slow up because of this year’s negotiations between the AMPTP and IATSE, Teamsters and Hollywood Basic Crafts. The current 3 year contract expires July 31st. These unions are negotiating for proposals on Pension and & Health Plans, wage increases, residuals and concerns over artificial intelligence.

    A strike doesn’t seem as likely this year. For one, the negotiations appear to be making some headway. Several unions such as Local 892 Costume Designers and Local 728 Lighting technicians have reached tentative deals.

    But, the reality is that most folks can’t afford to have another strike. That’s concerning because of what’s on the docket but also…totally understandable. Those of us in this position are trying to recoup from last year. Some folks haven’t worked at all this year. That’s unheard of in most other professions.

    The fact that the Art Directors Guild suspended their training program is genuinely sad to hear, but it seems to have been done with the very real concern about not putting more pressure on folks who need work right now. As hard as it is to see, not adding trainees in the guild for a time is a kindness. And surely, when things pick up, they can reassess and reopen their ranks to new people.

    Will things ever go back or is this a hint at lasting change? The answer is far more complicated than we can surmise right now.

    Sources:

    Art Directors Guild Suspends Training Program: ‘We Cannot in Good Conscience Encourage You to Pursue Our Profession’

    Netflix’s Amortized Content Spending to Rise 26% to $13.6 Billion in 2021, Analysts Project

    Analysis: Content Spending Will Slow in 2023 as Streamers Pivot to Profitability; Disney, Netflix to Lead Way

    IATSE Lays Out Contract Proposals, Including “Substantial” Health & Pension Plan Increases, As General Negotiations Begin

    Georgia film industry sets another economic impact record

    Pay or Play – Some Movies Don’t See the Light of Day

    SAG-AFTRA just threw their Voice Actors under the A.I. bus

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    2023, the year of the strikes.

    The combined writer’s and actors strikes, WGA and SAG-AFTRA respectively, won workers more residuals and consulted the affected workers on issues of A.I. usage.

    Then, yesterday, SAG-AFTRA dropped this bomb and acted like it was a good thing:

    SAG-AFTRA and Replica Studios Introduce Groundbreaking AI Voice Agreement at CES

    Replica Studios (Replica), an artificial intelligence (AI) voice technology company, and The Screen Actors Guild – American Federation of Television and Radio Artists (SAG-AFTRA) announced today the introduction of a groundbreaking AI voice agreement during an event at CES….

    This new agreement paves the way for professional voice over artists to safely explore new employment opportunities for their digital voice replicas…

    The agreement between the leading AI voice company and the world’s largest performers’ union will enable Replica to engage SAG-AFTRA members under a fair, ethical agreement to safely create and license a digital replica of their voice. Licensed voices can be used in video game development and other interactive media projects from pre-production to final release.

    http://www.sagaftra.org

    I like that they used the words “fair, ethical, safe” to describe how they were stabbing their membership in the back.

    Why do I think that this went behind SAG-AFTRA membership’s backs? Simply because I found out about this because of how many voice over artists called it out, saying, “We didn’t vote OR hear about this. What the hell.” (paraphrasing)

    Kellen Goff: Voice actor Five Night’s at Freddy’s (videogame), My Hero Academia, Attack on Titan, Black Clover

    Elias Toufexis: Voice actor Starfield (videogame), Deus Ex: Mankind Divided (videogame), Blood of Zeus

    Clifford Chapin: Voice actor in My Hero Academia, Attack on Titan, Spider-man 2 (videogame)

    The technology already exists to sample someone’s voice and create a pretty convincing, if not soul-less replica of their voice. This isn’t only un-creative, it’s also completely un-ethical. This argument has also come up with the advent of deep fakes.

    “Typically used maliciously or to spread false information.” Such as when someone made a deep fake of House Speaker Nancy Pelosi to act like she was impaired. Deep fakes can make it seem like anyone said anything, and that’s very damaging. And do I need to remind you how wrong it is?

    Circling back to voice actors, what does this entail? Doesn’t the deal with Replica Studios just give voice actors the ability to sell a digital imprint of their voice? This could be interpreted as the actor’s choice.

    This issue was also brought up by SAG-AFTRA membership last year, when it became clear that production companies wanted to pay background actors a one time fee to digitally scan them, and then use that image in perpetuity. That’s forever, babe. That’s multiple thousands of dollars that person will never be able to make. That’s a likeness of them out there that could be made to do anything.

    “But, I can’t afford to pay an artist/actor/voice actor/graphic artist for their work! I have to use A.I.!”

    What did you do before the days of this technology? Several options: 1. Save up the money or fundraise so you could do your project. 2. Take the time to learn the skills yourself. 3. Reach some kind of deal with the artist you need, like bartering services in kind or deferred payment.

    “But Bridget, you say. You don’t work in voice over or animation or videogames.”

    I know, anonymous person in my head, but here’s the thing. When you attack one artist, one creative profession like this, you attack us all. And I like videogames and animation and artwork and writing, so I’m going to support the people affected and continue to fight for them.

    Hey it’s not all bleak. Recently Wacom (a well known drawing tablet manufacturer) had to apologize for accidentally using AI imagery in their ad campaigns. This cute dragon image falls apart when you really look at it. A tail sprouts from the wrong direction, fur mushes into scales and other weird artifacts are present.

    I’m just including the above example, not all 4 that artists uncovered because this post is already bloated.

    Artists immediately threw backlash at Wacom. Simply, a company for artists should support them. They had to apologize.

    “We want to assure you that using AI generated images in these assets was not our intent.

    Here is what happened: Wacom purchased these images through a third-party vendor where it was indicated that they were not AI generated. We vetted the images through a few popular online tools that also indicated that they were not AI generated. However, given the community’s feedback, we are now not sure how the images were created. For this reason, we immediately discontinued their use.”

    Wacom’s statement

    This $750 Million dollar company can’t claim poverty. They could have commissioned a legion of artists for their marketing campaign.

    If you’re like me, you’re going to continue to fight against companies replacing artists with soulless computer interpretations. The next job they take could be yours.

    Sources:

    SAG-AFTRA and Replica Studios Introduce Groundbreaking AI Voice Agreement at CES

    The deal that ended the writers strike: A look at what the 3-year agreement says

    Movie extras worry they’ll be replaced by AI. Hollywood is already doing body scans

    Doctored Nancy Pelosi video highlights threat of “deepfake” tech

    Artists are making creative companies apologize for using AI

    A response to community questions concerning Wacom using AI-generated art in US marketing assets

    New Year, Same Old Film Job Scams

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    I use the blog on my website to teach what I know about the film industry. But one topic keeps coming up: Scams. It’s gotten so common that now people just associate my blog as “the scam blog.” My last scam related post was in August, but I’d have enough fodder to update the post weekly.

    Here’s an example:

    Love that comment.

    I highlighted the red flags that should stand out for you:

    • Generally poor grammar: “The dates for a documentary-style TV show for Veles Productions (extra space added) this month are August 21-25.” Also the weirdness of hiring a Production Assistant/Personal assistant, two completely separate jobs.
    • Astronomically high rate for a PA $1500 for 12 hours (and weird added “4 hours per day.”) Day rates for PA’s range around $175-250ish per day (12 hours) depending on the market and type of gig.
    • Must have “terminology knowledge.” What!?
    • Using the word “staff” instead of “crew.”
    • The PA is helping set up “lights, props and tools.” PA is an entry level job and typically shouldn’t be doing any of these things, but as budgets get tight (read: stingy) a lot of places are making PA’s take on extra responsibilities. It’s not great but… I’ve seen it done.

    That’s your typical example of a film job scam that’s posted to social media. It could be Facebook, Instagram…heck I’ve even seen scams posted to StaffMeUp and LinkedIn. Nowhere is safe, so always keep your guard up.

    I wanted to shift gears for the new year and arm you with two other types of scammy jobs to look out for: Illegal internships and opportunity scams.

    Illegal Internships

    I’ve worked on a number of movies, tv shows and other projects where we’ve got some newbies working as PA’s who are billed as interns.

    Internships have been under fire before in the entertainment industry. A famous case occurred during the production of Darren Aronofsky’s Black Swan. Two interns sued on behalf of 100 Fox Searchlight interns for backpay as they did work as employees, not interns. The class action lawsuit was resolved in the interns’ favor.

    But I’ve also run into it on several low budget features and other projects where someone eager to enter the film industry comes in as an intern. Read between the lines — unpaid labor.

    Sometimes I make a point to ask the intern “Are you in college right now? Are you getting college credit?” If not, then it gets sketchy. A legal internship benefits the intern alone, through work experience and/or college credit. Typically an employer is helping the intern but not benefitting themselves — well, in theory. But if that intern is doing the work that a full time employee would do? That’s a problem.

    If you want to volunteer on someone’s project, that’s up to you. But I wouldn’t ask you to take the title of intern if you’re doing an actual job for someone. I even wrote about deciding whether or not to volunteer on a film set before:

    5 Reasons For and Against Volunteering on a Film

    “This is your opportunity!”

    The real reason I was inspired to do an update on scams is because I came across this on Eventbrite.

    This “event” someone posting that you could work on a faith based film — for the low, low price of $199! That you pay them.

    Oh jeez, where do I start with this one?

    You should never pay to work on a movie.

    I’ve seen this scam before in another form, someone advertising they needed crew for a movie and asking the crew to pay to work on the film. The audacity of this.

    Oh also, “star” in a movie? With no acting experience? That’s fishy enough. At best you’d be an extra. Someone sitting on a park bench in the background or filling tables in a restaurant. Not a main character with lines.

    “Sign up from our website and receive a 25% discount!“

    “Star in a Faith-Based Christmas Movie! No Acting Experience Required. Now available in over 50 major US cities. Bring the whole family!“

    If it wasn’t clear this was a scam before, I clicked on the website link and saw that the “admission fee” was now $50 (how generous! And also not the definition of 24% off from the original $199) and now the location was listed as another state. Not Atlanta but Venice Beach California, Detroit, Los Angeles, etc. It’s a “pop up filming event” (the heck is that!?) in over 50 major US cities!

    Using the word “local.” So many of the Facebook-posted job scams I’ve covered have used terms like “local” or “in your area” so they can scam far and wide. Or there’ll be a weird space before the location or date because it’s clear they copy and paste and change a couple details.

    There are plenty of other scammy looking opportunities, classes, events that try to sell the dream of a career in film to new people. If something seems too good to be true or glamorizes the whole prospect of joining a film production, think twice before you submit or pay for anything.

    Stay safe in 2024.

    Sources:

    Fox Settles ‘Black Swan’ Interns Lawsuit After Five Years

    More than 40% of interns are still unpaid—here’s the history of why that’s legal

    How to Avoid Film Job Scams – Take Four (blog)

    5 Reasons for and Against Volunteering on a Film (blog)

    Podcasts that put the strike in perspective

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    One way I’ve stayed in tune with the impact of the WGA and SAG-AFTRA strikes is through podcasts.

    I wanted to share several selections from podcasts I’ve listened to recently that stress the necessity for the strikes in the spotlight. I’m on the crew side, so hearing from writers and actors helps put things in perspective.

    I listen through Audible, but I imagine you can find most if not all of these on Apple Podcasts and Spotify.

    Scam Goddess -“The Film that Hid Fraud”

    Laci Mosley (Lopez vs Lopez) and her guests started this episode talking about the insanity of the markup on wedding things – also known as the wedding tax — and it ended up making commentary on film worker’s lives.

    Naomi Ekperigin (actor Mythic Quest  and writer Mrs. Fletcher): “Someone’s like ‘Oh yeah, I’ve seen you on TV.’ Just because I’m on TV… doesn’t mean I want to spend all the money I have on this. You don’t know my life. You don’t know my circumstance. We work in a business too where — okay yeah, it was a good year but we don’t know if it will be next year.”

    Mosley: “We up on a whole strike right now! It’s up and down. You never know how long you’re gonna need to save your money.”

    The episode then covered an interesting story about the fraudulent film production of A Landscape of Lies, so check out that episode. Laci and her guests are very entertaining.

    Listen here.

    Deadline Strike Talk – Week Sixteen with guests Gale Anne Hurd and Glen Basner

    On this episode, host Billy Ray talked with producer Gale Anne Hurd (Terminator) and Glen Basner (FilmNation CEO), and the talk inevitably turned to the problem of AI.

    Gale Anne Hurd pointed out that the concept of AI (like ChatGPT) writing scripts would be just a rehashing of what’s been done before. AI can “theoretically formulate box office successes” that are just copies of what was popular before. “The great age of cinema and television series,” Hurd stated, “was always when there was innovation.”

    Basner: “If you look at a distributor like A24, Neon, Bleeker Street — they may be great theatrical distributors and there may be an audience at the theatrical level for those movies, but if they can’t sell their movies to paid TV or streamers, at the levels that they currently are, then the whole economic model upends itself and we have to readjust to say well creatively these may make sense but we may need to make them for 60% of the cost that we have been beforehand and that’s not sustainable in the long term to keep reducing the cost structure of each film.”

    Hurd: “There’s gonna be continued consolidation.”

    Billy: “If streamers add ads, wouldn’t they have to be transparent about their numbers with their advertisers?”

    Hurd: “There have been lawsuits about fake data. About just how many people are actually seeing ads on those platforms. I’m always concerned that metrics will not be reliable. I can’t tell you the number of times I’ve had to sue for profits on my films. Some of my most successful films are still not profitable. If they’re not sharing that data with us accurately, I think they will share unreliable data with advertisers.”

    Listen here.

    Scam Goddess – The Fake Film for… Feminism?

    Laci Mosley’s podcast gets a second mention because of her episode with Abbott Elementary writer Brittani Nichols.

    Mosley: “I think that regular everyday people look at the strike and think ‘Oh these are Hollywood writers who live in Hollywood mansions and then have millions of dollars and they want even more?! They’re so greedy!’ Where in truth most writers aren’t super duper rich.”

    Nichols: “Correct. Our guild is largely working class.”

    Mosley: “And the middle class has been shrinking all our guilds because in SAG you used to make residuals and now streaming’s like ‘We’re not going to tell you how many people watched it.’ “

    Nichols: “The entire industry has shifted. Streaming has put a squeeze on the middle class writer and made it harder to move up the ranks. Made it harder for people to have a sustainable career.”

    Mosley made the example of an actor who did a voiceover line for Friends and still gets a $300 check each month as it re-airs. with streaming, it’s $0.

    Their talk then shifted to AI, another major sticking point for both actors and writers during strike negotiations.

    Mosley: “We get paid for ADR [sessions] but with AI, they could do it without us.”

    Nichols also countered that the AMPTP (or at least streamers like Netflix) doesn’t want a traditional writer’s room. They want to pay the bare minimum and make it a freelance, gig based environment.

    The pay for writers and actors may look high at first glance, but it also takes into account the fact that they might not work again for a very long time. It’s the nature of the business, so if a line isn’t drawn in the sand now, it’ll only get harder for that shrinking middle class actor/writer to survive.

    Listen here.

    Movies in Focus – $34. Filmmaker Joe Russo Gives Insight Into the WGA Strike

    Podcast host Niall Browne invited writer/director Joe Russo (Au Pair Nightmare, Nightmare Cinema) onto the podcast to talk about how streamers treat their libraries, and therefore impact the discussion of residuals. Have you ever wondered why a show just up and disappears? Why a show gets canceled for seemingly no reason?

    Russo: “What’s happening with streamers is they’ll run a show for one, two, three seasons maybe and as soon as they decide, as soon as that algorithm decides that show is not bringing in new subscribers, they cancel it. And so the chance to make those residual payments over dozens and dozens of episodes, that’s gone away. They’ll replace it with a new show, a new shiny bauble, to try to bring in new subscriber growth.”

    Joe Russo went on to describe that the idea of any long term success is fleeting when streamers can just delete a show off their platform like this. Sometimes they barely get a release.

    Russo: “They’ve been pulling things off the platform. There was a Disney movie that was released on Disney+ in May and it came down June 30th. It was on the platform 6 weeks. That’s hundreds of people’s labor, time, 1-2 years of their life invested into this thing for 6 whole weeks. And who knows if it’ll ever be seen again.”

    Listen here.

    Feel free to check out these podcasts and others to learn more about the strike from the perspective of those walking the picket line.