What’s Your Rate? (What’s Your Budget?)

A classic standoff worthy of any gunslinger this side of the Alamo.

One of the most hardest parts about working in film production is not what you’d expect. Sure there are challenges in regards to getting on set in the first place, gaining knowledge in different fields and just surviving your first long day as you question your sanity in regards to the freelance life, but there’s even more to consider.

I’m talking about rates.

In this business we set rates for ourselves to work on a production per day. This is usually on a 12 hour regimen, however there can be rates for specifically 10 or 14 hour spans as well. It depends on the production and the nature of the job position. Steadicam Ops, for instance, may charge a day rate for 10 hours or less due to the physical nature of the job.

Some jobs set the rates they are willing to pay for the various positions on their set. For example, a short film production may call you up, looking for a 1st AC, saying they are willing to pay $350 per day max. It is then up to you and your calendar whether you’re willing to take that rate for that day.

However the opposite could be true. An indie feature producer may call you, asking what your rate is.

So, why is the budget/rate stalemate so tricky?

You may have different rates depending on the scope of the job and the type of project. For example, I may not charge the same for a small short film shoot than I will for a corporate or feature film. It is also up to me if I’m willing to take a job, available or not, for any number or set of conditions.

Asking a production what their budget is proves a valuable way of gauging what the project really is. A Tier 1 feature is going to have a different budget reserve than does a small weekend shoot. A production not willing to share basic information can sometimes be a red flag. But having a basic understanding of budget will determine if you’re asking for your full rate, or a discounted rate. Either way is totally up to you. Ask for your full rate every single time if you’ll only work for that. It’s your skills on the table, after all.

Of course, setting your rate can be a hard decision. Are you new in the industry? Have many years of experience and special skills to bring to the table? That can change those numbers.

An important thing to remember about setting a rate is how many variables it contains. What are the expected rates for the job? How many days is the job? What are your expenses? How often will you get work?

There’s no one right rate. You can find out what union rates or commercial rates are and go from there, but a good rule of thumb is to ask. Normalize asking other people in your department what their rate is. Money is awkward to talk about but an important part of being a freelancer.

Oh! I didn’t even mention kit rentals and deferred pay.

A Kit rental is what you charge to bring your gear to a production. This is for specialized gear, like a camera, a Steadicam, a camera cart, a drone. You charge your rate PLUS the kit rental on that gear. To get an idea of what that rental should be, look at rental prices on something like Sharegrid or Adorama or local rental house. Kit rentals are important because that money goes towards paying that expensive gear off — and buying more.

If you see a job post somewhere indicating there’s deferred pay, I’ll give you two definitions: Deferred means “paid later” and also “you will never get paid.” If someone wants you to work a job for deferred pay, they are claiming they will pay you later. Films are expensive to make and likely the movie that doesn’t have a budget to pay it’s crew won’t be making a ton of money and then funneling any of it back to you. Financially, movie making is a risky business, especially in the independent world. Only do a deferred project gig if you want the experience and don’t mind if you never see a dime.

Cables, Adapters and Converters Oh My!

Quite some time ago, I published a post on what basic items you should have in your camera assistant kit. You can find that post here. A number of folks just getting into the camera department found the post useful, so I thought I’d build on that.

Do you know how many times I need just the right connector or cable to make a camera or monitor build work? Many times. All the times. Some of the times.

The fact is, sometimes when you’re working with someone else’s gear or renting a kit from someone, you might be surprised when one or more cables is missing, or you need a special connector to make something work.

I’m going to introduce you to my tackle box of connectors and useful screws and well as the common cables I keep in my kit.

One of the great things about working with other AC’s, camera operators and DP’s is I can see what they have in their kits and ask them what works best for them. Shop talk like that helps everyone build on their knowledge and slowly add in new pieces to their kit that will help them on future gigs.

The Tackle BoxScrews and Adapters

Many, many times I need a specific size screw in order to mount the camera on a pair of sticks or a Steadicam. I’ve slowly been adding to my pile of screws, but the basics will always be 1/4″ 20s and 3/8″. Having a couple short and long ones, as well as a washer for that rare occasion when there’s a gap between the screw and the mounting plate is crucial.

I got this little box at a craft store, but you can find a similar one in the fishing section of Walmart, so I call it my tackle box. It helps keeps things organized and neat, and when I need to send a 2nd AC to grab something, I only need to say “find the clear tackle box” and they find it right away.

Some items I have in the tackle box:

  • SDI Splitter
  • barrel connectors
  • Screws of various sizes
  • washers
  • HDMI to micro HDMI adapter
  • Double ended screws, different sizes

Cables

Wires are essential to get a video signal from Point A to Point B. There are many ways to keep and organize your wires. For now I’ve settled on different colored pencil cases. I usually have three cases with me: 1 for SDI cables, 1 for HDMI (on Blackmagic shoots) and 1 for “Other” – for me it’s Steadicam related wires.

My commonly used wires include:

  • SDI cables – coiled and regular, several sizes
  • PTAP splitter
  • HDMI

I recommend not buying the thin “spaghetti strand” SDI cables. I’ve had them several times and they always fail. A thicker gauge wire is a safer bet.

Also good additions to this are:

  • HDMI to SDI converter. I use the Blackmagic HDMI to SDI Microconverter. I’ve seen a larger version used on bigger shoots to provide a signal to off-site directors. Keep in mind this needs power. A cell phone power cable to USB can work on a camera with a USB power input. Another option is mounting a portable cell phone battery charger.

  • Arms for mounting – Noga arm or Smallrig or similar. All useful for mounting a Teredek, monitor or whatever else you need.


  • There’s no shortage of things you could add to your kit to make your life easier, but this list should get you off to a good start.

    A Film Is Born Three Times Pt. 1: Re: Writing

    “A film is born three times. First in the writing of the script, once again in the shooting, and finally in the editing.” — Robert Bresson, French film maker.

    I think folks at first take for granted that a film is a thing born of an idea, written, produced, and edited and then it just exists… but there’s so many changes along the way. Your first draft is almost never, ever going to be what appears on screen. And it probably shouldn’t. Some first drafts are better left being forgotten, but you can’t make a final draft without suffering through the whole writing and re-writing process.

    The Road Less Traveled

    I talked a bit about my short horror film The Road Less Traveled in my how-to post here: Making the No Budget Horror Film – Bridget LaMonica

    The very first very rough draft was written in 2014 while I was at SCAD. Cassie is abandoned at a bar by her friends and captured by two bad men named Miles and Dawson in a cool car.

    While in their nefarious clutches, Cassie calls her mother, who races to try to find her. Cassie gets her revenge, only to have her mother finally arrive in time to bury a couple bodies. I called the story Werewolf because that was the monster at the end of the story.

    Hunted, an early draft of The Road Less Traveled:

    Cassie talks too much. There’s a lot of her talking on the phone, to a friend at a bar, to the kidnappers. Blegh.

    She has a cell phone and is able to call for help (kind of a horror movie no-no).

    Cassie is resourceful. She knows ways out of her situation but finds her methods were anticipated.

    I sent the draft to my friend Masha, who gave me a great critique. Eventually I created the story that was much more interesting to me: Mia (formerly Cassie, now with a more appropriate name – Missing In Action) kidnapped by a lone serial killer named Clyde (the name is never said out loud) who brings her to an abandoned slaughter house to do his evil work. Jokes on him, because Mia fights back. This was called Hunted.

    The script was presented to director Lindsay Barrasse. With Lindsay’s attachment to the script and her love of classic horror, we leaned further into classic horror tropes and set the story in the 1970s instead of modern day. No more convenient cell phone.

    Draft 9:

    Cassie is now Mia and she has no spoken dialogue (only a few lines of voice over).

    This version mentions a “90’s style watch” but later we changed the date to the 70s.

    Mia is adept at survival — she knows some skills but is unable to escape until later.

    I wanted a horror story that played on the classic tropes while delivering some surprises. I had a not-so-subtle reference to a favorite TV show, Supernatural.

    Hunted became The Road Less Traveled, inspired by the Robert Frost poem “The Road Not Taken”, Supernatural‘s “The Road So Far” and the fact that we had a female victim who would prove herself capable. The film became more and more about female empowerment, especially since most of our production team was female.

    A note: I almost never find my title until a few drafts later. Same with a theme or tone — sometimes it just takes that long to finally whittle down to what I want to say.

    Routine Procedures

    Before The Road Less Traveled was produced, I had a thesis film at SCAD called Routine Procedures.

    This script began in a short script writing class. The basic premise being a group of soldiers discovering an alien box in the woods that could spell doom for all mankind.

    The very first (equally very bad) draft saw Johnson, your average Gary Stu with his boss Magnus and a feisty Latina soldier Reyes (inspired by Private Vasquez in Alien). Reyes ends up being an alien. There might have been some idea about aliens enslaving humanity or something? I dunno. This draft doesn’t exist anymore and nor should it.

    This script went through several drafts in the class, becoming a time travel story in which these soldiers discover this alien artifact that forces them to relive the same day over and over as they deteriorate. Only one soldier notices, and he is freaking out, man.

    Draft 3, Page 1:

    In this version we have about 5 characters: Johnson, Sterling, Reyes, Magnus and Hopkins.

    This draft was way too talky with too many characters. Still I can see all the major things I kept from this draft forward: Johnson as our lead who figures things out, Magnus as the hard-as-nails superior who is afraid of change, the story starting by mentioning de ja vu.

    I condensed the best parts of Hopkins into Reyes and deleted Sterling entirely. He was a useless jerk.

    I worked with director Nick Bow to make the film. He suggested Johnson should be a woman. I stopped. I was about to argue. And then I realized, yeah, why didn’t I think about that? The genders of Johnson and Reyes were flipped and we put out a casting call. We got some excellent people to fill out these roles and it wasn’t who we originally expected.

    Draft 9, page 1:

    The characters were reduced to 3.

    We wanted to be clear what happened where (time travel stories get complicated). We labeled the repetitions and the different sections of landscape we were shooting in.

    In Draft 3 Reyes saw a snail stuck in a loop. Here it’s a millipede.

    Less dialogue and more focused.

    As I recall, the title Routine Procedures was there for most of the drafts. I think the first one or two were called Maneuvers or something vaguely military-esque. When I settled on Routine Procedures, it helped sell the fact that this was a time travel story.

    Let’s Wrap This Up

    Drafts are called such because they are a continuously changing process. The first draft is often called a vomit draft (ew) because you might need to get your initial idea out fast. You bring it to a critique group or a trusted friend who can give you notes, and then you incorporate that into a rewrite. The script is never actually done until it is filmed, and even then it’s open for interpretation.

    Next up, Part 2: Production.

    Cinematography on the Cheap

    Recently I was invited to help teach cinematography on a budget for my local library’s film maker club. I figured, why not share the love here?

    So, congrats — you’re embarking on your first or fortieth short film production. Unfortunately, you don’t have much money to put into it. How can you personally go cheap without sacrificing all your production value?

    In this Medium post, Lance Adams figures short films cost approximately $500-1000 per minute. That’s a lotta moolah.

    Keep in mind, if you’re producing your short film, you need to budget money for food and snacks for your crew, props, locations, equipment, crew, actors, gas money, etc. There’s a lot of costs associated with even the cheapest of short films.

    You can also check out this article on the biggest issues when budgeting a short film.

    For the sake of this blog post, we’re going to look strictly at the cinematography side. Maybe a friend has asked you to be the DP on their short film, or maybe you’re trying to do your own film on the cheap. Here are some choices that will have less of an impact on your bottom line.

    Shooting a Budget Friendly Script

    Aim for a short script (emphasis on short, 5-10 pages max) that has few actors, few locations, and even less in the way of special or visual effects. Less is more in this case, and limiting yourself with these parameters will make it more likely that you succeed in shooting this short film on a tiny budget.

    The Camera

    Panasonic Lumix GH5

    Oh, so you want to shoot your short film on a RED Gemini 5K? That’s nice. That’ll also be around $1200/day. Without a lens.

    I recommend shooting on smaller, more compact cameras for the no-budget short. DSLR’s are highly popular, but if you have access to a Blackmagic –that’s cool too. If you don’t have a DSLR, they’re a fairly cheap rental on a service like Sharegrid. For a good comparison, a Panasonic GH5 (DSLR) is about $80 to rent…per week ( via LensRentals.com). Big difference from that RED, huh?

    There’s quite a few people out there doing some cool things with their iPhones too. For that type of shooting, download the app Filmic Pro (available for iOS or Andriod). It’s $15 and from what I hear, well worth the money. The app gives you full manual controls over your phone’s camera, enhancing your ability to shoot more cinematically.

    Use What You Have

    Lay out all the equipment you have right now. Camera, lenses, accessories, lighting. This is where you’ll start. Don’t have pro video gear? Start getting creative. Your household lamps can double as practical lighting in that bedroom scene. That tripod could turn into a dolly if you put it on wheels.

    I’ve been asked a couple times how I achieved a particular “dolly” shot inside of a car. There was no room for a dolly or a slider for that matter, so I placed my Sony A7s camera on a roll of duct tape I had in the car and pushed it on the center console to get a nice dolly effect on the back seat of the car. Get creative!*

    *Safely, of course.

    Lighting Options

    \I said LIGHTING not lightning. Don’t light your sets with a Faraday cage experiment, so help me God…

    You better light those scenes so you can see what’s going on! Bad lighting will ruin good cinematography.

    Earlier I mentioned “practicals,” which in this case would be lights that exist in the world of your film. That might be a lamp in a bedroom scene or the ceiling fixture in a kitchen. That’s a good start but you’re probably going to want to work a little more light in, or creatively block light for some “negative fill.”

    Image from Premium Beat’s article: Lighting a Scene Solely with Practicals

    As far as inexpensive, semi-professional lighting is concerned, I’d say invest in a couple of reasonably priced LED panels.

    These LED light panels can be found on Amazon.

    I bought two Neewer 480s and one 660 (pictured above) from Amazon, and I’ve used them on multiple film shoots. Lightweight, dimmable and ranging in color temp from 3200 to 5600K, these light panels are a life saver.

    I also have a few of these itty bitty LED lights that might be meant for product photography, but have come in handy in a pinch when a large light can’t fit somewhere.

    Manipulate your lights with gels (if not color-adjustable already) and use bounce and reflectors to direct the light where it needs to go. Use dark fabric such as duvetyne or something way cheaper to eliminate light where you don’t need it.

    I could go more in depth on the practical ways to light or shoot on the cheap, but I think you get the idea. If there’s anything you’d like me to explore further in a future blog post — just let me know! I’m happy to help.

    In the meantime, check out this YouTube playlist I made of tips/tricks for doing cinematography on the cheap:

    Reading List: Screenwriting

    Malcolm Gladwell wrote in his book Outliers: Secrets of Success that in order to become an expert in anything, you need 10,000 hours of practice. That is also true for screenwriters and film makers.

    I am of the belief that if you want to be good at something, you’re constantly working to enhance your knowledge, hone your craft and try new things.

    When I interact with young screenwriters, I find myself recommending the same reading material over and over again, so my next logical step was to list them here.

    The Short Screenplay: Your Short Film from Concept to Production

    Before you run, you must walk.

    Before you write a feature, I highly recommend you write a short film.

    A short film can range anywhere from 1 min to 45 or so, but usually around 5-10 mins is the common format that can find itself programmed into film festivals. That’s the sweet spot, so you might want to look in that range specifically.

    Find it here.

    Save the Cat! The Last Book on Screenwriting You’ll Ever Need

    Often touted as the “Bible of Screenwriting,” Save the Cat! is a famous book on the craft. This book takes a more Hollywood approach to screenwriting that’s beneficial for those wanting to understand the formula of most popular films.

    From the initial idea, to creating a beat sheet to marketing your script, Save the Cat! is a great resource to dive into.

    the book’s strength lies in its foundation of the formula of story arcs and organizational tools such as the beat sheet, so this is definitely a book you should check out.

    Find the book here.

    Your Screenplay Sucks! 100 Ways to Make it Great

    I always send this book recommendation with the disclaimer “This is by no means a commentary on your script!”

    This book is broken up into digestible chunks that go into details on common problems and how to fix them. This book explores structure, the nitty gritty of story and other details that might have been missed during your first draft, such as a deep B story or multi-faceted characters.

    Find the book here.

    Crafty TV Writing: Thinking Inside the Box

    This is the book for any sort of TV writing. Here you learn about the particular format of broadcast television writing. TV writing is a different game than writing a feature by a long shot, as it pertains to act breaks, teasers, tags, and how to best tell a joke (the funny word comes last!).

    This book also has a meaty section on agents, navigating the world of spec script writing and pitching.

    Find it here.

    Honorable Mentions:

    The Coffee Break Screenwriter: Writing Your Script 10 Minutes at a Time. Find it here.

    Secrets of Film Writing. Find it here.

    Designing Impressive Long Takes and Oners

    The mark of a good director and cinematographer duo is telling a story clearly through the images that appear on a screen. The great ones find a way to go above and beyond.

    One particular shot that separates the women from the girls is the “oner” or “one shot” take. The camera follows the action for a long period of time. Often this can be on a Steadicam, but you might find a fantastic oner accomplished handheld, on a dolly, or on a camera crane. Usually these are dynamic moving shots that change framing and action before your eyes, whereas a normal setup would be to edit a series of shots together.

    It’s harder to do things this way, and so the oner must be deliberate and planned to perfection. It’s something you might want to try in your next film.

    The best way to design something complicated is to study those that came before you. Here I’ve given four examples of incredible oners that I admire and I know you will too.

    The Haunting of Hill House Season 1 Episode 6 “Two Storms

    A large chunk of Netflix’s The Haunting of Hill House Episode 6 is a 17 minute long oner that spans huge passes of time, flashbacks, special effects and more. It’s an incredibly complicated task that helped tell this unique story.

    Part of what makes this scene so surreal is the fact that it doesn’t break away, doesn’t give a respite from following each character around during this pivotal storm. This genius choreography couldn’t have been pulled off without careful timing and a large well-rehearsed crew and cast.

    You can watch the whole episode on Netflix, but you also can get the idea from this clip:

    Also worthy of watching is this Making Of Featurette, which shows some of the ways this complicated long shot was choreographed:

    Children of Men (2006)

    The car scene. Not only is this a long take, it’s fraught with anxiety, showing different views out the windows of the car, placing the viewer in with the passengers of the vehicle. The drama unfolds in real-time, starting off with an innocuous car ride and conversation, escalating into a mad dash away from a hoard of crazy people attacking the car’s occupants.

    The way they filmed this scene is actually pretty incredible and technical. At about 1 minute into this featurette, they discuss this particular scene. They used the Sparrowhead Doggie cam, a camera suspended inside the car on a track. The car was also specially designed for this scene. The driver is not actually driving it — there’s a man in front of the car low to the ground who is actually doing the driving. They don’t show it here, but they actually had seats that folded out of the way so the camera could get past the actors. 

    Birdman

    Now this one gets an honorable mention because the whole movie is structured like it takes place in one long take. There are a number of hidden cuts that make this possible, but there are certainly a number of true long takes. You experience in real time Riggan getting stuck outside the playhouse during the performance and having to navigate a busy Times Square in his tighty whities.

    At about 45 seconds into this video, you see a grip positioning a silk in order to adjust the lighting on the actors faces on the fly. The whole movie had to be choreographed with the actors and crew in this way in order to avoid setting up classic lighting scenarios and keep things on the move.

    Baby Driver (2017)

    It’s Bank Robbery: The Musical but oh so much more. I recently re-watched this movie and I’m telling you — if you haven’t seen it yet, there’s no time like the present.

    Baby Driver‘s premise is genius — Baby has tinnitus from a car accident, so he’s constantly playing music through his headphones to drown out the ringing in his ears. That sets the soundtrack to which all the action happens throughout the movie. The car chases, bank robbery, shootouts — everything has been meticulously choreographed and timed to fit the music of the scene.

    Check out the “coffee run” scene from early in the movie to see the level of choreography that went into the scene. Not only do the Steadicam operator and Ansel Elgort walk perfectly timed, the action also lines up with key bits of set design — watch for the trumpet and certain bits of graffiti and poster designs that link up with lyrics in the music.

    Look at the graffiti that says “Right” at 0:32 and 2:31 you’ll see they added in the lyrics “Shake, shake, shake” and several new lyrics on that wall during the shot. Excellent details.

    Kidding Season 1 Episode 3 (2018)

    Check out this incredible scene from the Showtime series Kidding.

    This scene shows how the character Shaina is inspired by a show and how her life dramatically changes in a shifting scene that transcends time.

    This is some incredible behind the scenes here because you can see just how the crew choreographed and shifted the scene from the drab, dreary beginning to a lavish apartment by the end of the scene. Watch and listen to the careful choreography dictated by either the 1st AD or coordinator.

    6 Types of One-Take Shots

    For some more examples, and descriptions of specific oners (the establishing long take, the exposition, the tracking long take, the fake long take) check out Aputure’s video with Ted Sim and cinematographer Emma Kragen.

     

    5 Reasons For and Against Volunteering on a Film

    On your usual search for gigs and opportunities in the film industry, you might come across more than a few posts like this:

    “Looking for camera operator. No budget, sorry, but we’ve got a great project!”

    “Student film in need of actors. Unpaid. Copy/meal/credit.”

    Depending on what stage you are in your film career, you might consider working free gigs. The thing is, not all these opportunities are created equally. Here’s a quick guide on how to decide whether to volunteer on someone’s set.

    Why you might want to volunteer:

    experience

    1. Completely new to film industry.
    2. Trying to move up a position.
    3. Working for a friend.
    4. It’s a good project.
    5. You need it for your reel.

    If you’ve never worked on a film set before, volunteering on a few productions might be a good idea. You’ll get the experience you need while having less pressure since you’re not technically any sort of employee. Plus it’s very difficult to get yourself noticed as a production assistant in a very competitive job market without prior experience and/or a contact on the production.

    Or maybe you’re already working on films, but you’ve really like to level up your skills. Maybe you’re a well-practiced 2nd AC looking to move up to 1st. Volunteering as a 1st on a project is helpful. Again, less pressure, but gaining experience.

    Most of us are pretty cool for working on a friend’s project. Plus it’s a small world and people tend to like to do each other favors like this.

    #4 and 5 go hand in hand. If this project looks like a good quality project, plus you’d like to add it to your reel? You’re still benefitting.

    Why you shouldn’t volunteer:

    exposure meme

    1. You have plenty of experience.
    2. The project sounds like a hot mess.
    3. The project asks above and beyond what they should get for free.
    4. Particular skills required. (Examples: DP must have drone/Steadicam. An actor needs to do a nude scene or stunts).
    5. “It’s only going to take four hours!” Trust me — it won’t.

    You need to value yourself enough to be paid for your skills. You don’t need to do someone’s project “for exposure” especially since exposure means hardly anything. Anyone asking you to do something for exposure should be treated with caution.

    A feature shooting in 4 days? All overnights? The previous crew bailed? The job poster is nasty about the unpaid situation IN the job post? These are all red flags and indicate a project best worth avoiding.

    A project asking for an inordinate amount of equipment — a DP with a specific camera and lighting package, a specific drone – are also ones I say to avoid. I also keep seeing posts asking for makeup artists for free. Makeup artists are using up their materials to do your project. They at the very least need a kit fee to cover expendables.

    Maybe it’s a gig that’s mashing too many jobs rolled into one (Camera PA/Media Manager). This happens on paid gigs too, which can still be a problem.

    I’ve worked on enough films that I can tell you if a project says they only need you for a handful of hours…it’s likely not true, or they grossly underestimated how long it takes to put together a shoot. Always figure a 12 hour day in.

    In Conclusion

    Working for free is your decision. If you think it will benefit you in the long run with experience on a new skill or you want to help somebody out — that’s great. Not volunteering is also your decision. Weigh your pros and cons list on each unpaid gig you see and make the smartest decision for you.

    What’s in a Camera Assistant’s kit?

    When you start out in the world of camera assisting, you soon find out that just showing up to set with yourself is only half the story. If you’re really serious, you bring a kit.

    What’s in this kit? a voice from nowhere asks.

    Glad you asked, hypothetical listener.

    In this post, I’ll cover the basics in your typical kit for a 1st or 2nd AC.

    Tools

    If you’ve been in this business for longer than five minutes, you should already be aware that tools are necessary to make equipment fit together as intended. At the very least, you need a flathead screwdriver to secure a camera to a tripod baseplate.

    Part of the AC’s job is to troubleshoot the gear you’re using. You might find you need to take a bracket apart and fit it together in a new configuration. A screw that’s too tight to loosen by hand that needs pliers. You find you need to add new attachments to the camera. Or perhaps you’re working with old gear that’s had a rough life.

    The AC doesn’t need the same tools as an electrician or gaffer or production designer. They will, however, get a lot of use with the following:

    • Screwdrivers – Flat and Phillips in a variety of sizes
    • pliers
    • Multi-tool (fulfills several requirements on the list but I wouldn’t trust their screwdriver attachment often).
    • sharp pocket knife and/or razor knife
    • allen wrenches – metric and standard

    Tape

    On-set production requires a lot of tape. This is especially true for the camera assistant, who needs several varieties of tape in various sizes, types and colors.

    • Gaffer’s Tape (Black: 1 inch wide and 2″ wide; White: 1″ wide – also dubbed “camera tape”).
    • Painter’s tape – might come in handy, especially for times when you don’t want to use up your expensive gaff tape.
    • Spike Tape – essentially a thin line painter’s tape but not quite. You should have 3+ colors of this as you use it to mark locations of actors and camera. Each lead actor gets their own color.

     

    Cleaning Supplies

    Cleaning and maintaining the gear in top condition is so important. You don’t want a take ruined by a dirty lens.

    • Kimtech wipes – use these dry cloths to clean lenses, monitors, etc.
    • wet lens wipes – use when needed, often the dry wipes do the trick.
    • microfiber cloths
    • Rocket Blower
    • Canned Air
    • Pancro or similar lens cleaner

    Other Camera Expendables and Tools

    • Markers – Black sharpie, dry erase markers in black and other colors
    • Pen – for taking camera notes
    • Camera Reports
    • bongo ties – very useful to secure loose wires around the camera.
    • Measuring tape – to measure focal distance.
    • Slate and insert slate
    • Color checker card – an ideal thing to capture for your editor to use later on.
    • penlight or headlamp – very useful if you’re in a dark location.
    • scissors – you don’t even know how many times I’ve needed scissors on set.
    • T-marks – easier than tape marks, just throw ’em down and remember to pick them up later.

     

     

    Carrying Gear

    So you’ve got all this stuff, right? Where exactly are you going to put it?

    If you’ve got a lot of gear, you might want to invest in a good sized, sturdy bag. I’ve got a common bag for a lot of camera assistants — the Cinebag. When I first started out, I just toted a cheap tool bag from Harbor Freight. I eventually upgraded to a nice Husky toolbag which I still sometimes use.

    cinebagYou also should keep common tools, such as your multitool, some cleaning stuff and writing utensils close by. Many camera assistants will have some sort of utility belt – a la Batman – to accomplish this. I went Cinebag on this too and got their AC pouch, but there’s plenty of great brands out there to check out, such as Setwear and Portabrace. Get one that works best for you.

     

     

    Ready to gear up?

    That covers the basics (and that’s a lot of basics). Your kit will likely grow and expand and change from job to job, as you realize what you really need and what might be provided already on set.

    You’ll find this gear and other useful supplies at places like Filmtools, B&H, Amazon, eBay and home improvement stores such as Home Depot, Lowes and Harbor Freight.

    Oh! And one more thing. When you start buying this stuff, you’ll notice the cost adds up. Especially when buying $20 rolls of gaffer’s tape. So price shop amongst as many sources as you can and most of all – label your gear. I, for one, put my name on tape especially, as it can easily be lost and picked up by another department on set.

    Searching…An Innovative Way to Tell a Story

    Searching sets up a story we’ve seen before — a parent searching for their child — but does it in a uniquely technical fashion while cleverly setting up red herrings and clues along the way.

    What makes Searching unique is obvious — the story is told through screens, on computers and cell phones. It could have come across hokey and gimmicky, much like found footage films, or by what I assume Unfriended was received (has anyone seen that movie? Let me know)

    The father, played by John Cho, does 90% of his sleuthing online, digging through his daughter’s social media, searching terms he’s unfamiliar with (#parents am I right?) and communicating via text, messenger and FaceTime. This creates a story that wouldn’t be better told in a traditional format. The discovery and the unearthing of Margot’s secrets is through her social media, so why not present the film in such a format that can take great advantage of that?

    The animations and screen captures were smooth, transitioning from search results to videos and FaceTime conversations in a manner that reflects a person’s frantic search online for answers.

    Searching pic 1

    We’re introduced to the storytelling convention in a less frantic sense, in a sort of Up-style montage of moments that detail this family’s life on the computer. There’s an incredible amount of character development told through the Windows startup page to the photos and videos that document this family’s journey.

    As details about the case are discovered and Cho’s character delves deeper into the mystery, clues are simultaneously revealed to the viewer. Eagle eyed observers might even note key plot details before Dad finds them, but it’s done in a way that doesn’t make you anxious for the characters to catch up with your conclusions. The twists are really well done and the ending features a spectacular 180 reversal.

    It’s a really well done movie from both a technical and a writing standpoint. If you’d like to delve more into the making of the movie, check out the special features (available on the RedBox rental, so no excuses) and read this article AFTER you’ve seen the movie (be warned: spoilers). With this movie, the viewer’s search for the truth should coincide with the father’s.

    The Slick Design of Spider-Man: Into the Spider-Verse

    There’s a lot of great things going on in the animated film Spider-Man: Into the Spider-Verse. The minority lead is incredibly engaging and the first in-motion Spider-Gwen was everything I wanted her to be. I’m secretly hoping she’ll get her own film some day. Combine that with a worthwhile story, heartfelt interactions and pulse-pounding action — you’ve got yourself a fun ride.

    Comic Style +

    best-the-animation-1544466007

    Having this story animated (instead of live action) allowed for some stylistic choices that celebrated both animated and print formats. Especially after Miles gets his powers, the story is presented more and more like a comic book, including thought bubbles and descriptions that pop up on screen. Unlike its comic roots, the film uses these staples of the print format in dynamic ways. Thought bubbles pop up after Miles as he’s running down a street, panel lines slash through the screen and present multiple images at once. It’s a comic on speed and you can’t look away.

    Color

    color

    Coupled with the general layout of a comic book, the animation is lush with vibrant color. The colors are as vivid as our main character himself, who sings to get himself in a good mood and is full of energy. Adding this to our smooth animation, and 2-D/3-D presentation (even when viewed in standard format, you can tell how much depth the 3-D version has) and you’ve got a visually breathtaking actiony romp. But even with that color and fun, there’s still some darkness to be had, making this a film that’s not just emotionally investing for young viewers.

    Otherworldly Designs

    Into-The-Spider-Verse-All-Spider-Men

    Another great stylistic choice was to have the spider-people of different universes look and behave different. Spider-Ham (yes, a spider-pig) is more cartoonish and uses weapons that would have been at home in a Bugs Bunny cartoon). Spider-Noir is depicted in black and white and he can’t see color. Peni Parker is decidedly more anime. This design choice follows when we get glimpses into their worlds in their intros and near the end. Different shapes, color-schemes and physics accompany the buildings and sights populating from the other worlds.

    Spider-Man: Into the Spider-Verse is a fantastic addition to the Marvel universe, referencing all the Spider-Men that came before it while securing its own important place in heroic cinema. It’s a fantastic animated film, but it’s also just a really good film in its own right.