Proposal by Brian Dzyak
Represented by
Lilly Ghahremani and Stefanie Von Borstel Full Circle Literary, LLC 7676 Hazard Center Drive, Suite 500 San Diego, CA 92108 T: (858) 824-9269 [email protected]
TABLE OF CONTENTS
Overview 3 Market 4 Promotion 6 Series Potential 9 Available Rights 10 Competitive Market 11 Comparative Titles 14 About the Author 16 Format/Delivery 18 Chapter Outline 19 Sample Chapter 22
OVERVIEW
When people say they want to work in Hollywood, what do they mean?
For the first time, What I Really Want to Do TM: On Set in Hollywood offers an insightful and engaging rundown of the distinct roles of the many people who make American films happen.
A typical set has approximately 100 people working every day. What are they all doing? Can anybody get one of those jobs? Do they really like what they’re doing? Will I like doing it?
Providing engaging answers to these questions and more, Hollywood veteran Brian Dzyak’s
What I Really Want to Do TM untangles the various departments, the jobs within the departments, and how they all interact with one another on a shot-by-shot basis. By reading about a typical day-in-the-life of each crew position, readers are offered a candid understanding of the industry… and what their own lives will be like when they work in it.
Each chapter rounds out a reader’s knowledge with information about what the job title really
means, how to get it, how to maintain it, how to do it, what a typical day-in-the-life might be
like, and how to “move up” to the next level. Career day has never been so intriguing.
Whether an intern, recent high school or college grad, or someone looking to make a career
switch, this is the last book an ambitious filmmaker will need to map out a career path to
success. Finally, a career book as interesting as the industry it’s about!
Dzyak/What I Really Want to Do TM 3 MARKET
There is no shortage of people interested in learning more about the film industry. In particular, What I Really Want to Do TM: On Set in Hollywood will appeal to these audiences:
● High School Students
Teen audiences are fascinated with Hollywood. Television shows like “Driven” air regularly, detailing how celebrities reached fame and fortune. Youth with goals of reaching Hollywood with their careers will find this book an exciting inside look at the industry, written in an appealing and conversational tone.
● University Level Students
An estimated 30,000 students are enrolled each year in approximately 150 university-level film programs in 39 states – add to this those attending a variety of specialty filmmaking workshops across the country. The demographic of students actively pursuing a viable career in the
Motion Picture Industry is enormous. This book is a crucial corollary to what they’re learning in their classes, offering personal perspectives and guidance to creating a realistic career plan.
Accordingly, the book is a great fit for the libraries of educational institutions and in career offices nationwide.
Dzyak/What I Really Want to Do TM 4
● Industry Professionals
The research portion of this project has also revealed overwhelming interest from people already working within the industry itself.
Members of the DGA (Directors Guild of America) and IATSE (International Alliance of
Theatrical and Stage Employees) have expressed interest in using the text as reference material for their training programs.
● IATSE boasts over 30,000 workers in 17 IATSE locals
● DGA has approximately 12,000 members
● Screen Actor’s Guild with over 120,000 performers represented
● Film“Extras” looking to transition into the industry full-time
● Individuals looking for a career change
Dzyak/What I Really Want to Do TM 5 PROMOTION
The topic of What I Really Want to Do TM lends itself to creative and interactive promotion.
Author Brian Dzyak looks forward to using his connections in the industry and his many talents to create exciting buzz about this one-of-a-kind project in tandem with his publisher, including:
Endorsements: Author will approach several well-known industry Producers and Directors for contributions to What I Really Want to Do TM (including endorsements and a potential
Forward), including:
• Frank Darabont – Director of The Shawshank Redemption
• James Cameron – Director of Titanic
• Ben Younger – Director of Boiler Room
• John Woo – Director of Mission Impossible II
• Clint Eastwood – Actor and Director
• M. Night Shyamalan – Director of The Sixth Sense
• Ron Howard – Actor and Director
• Brian Grazer – Producer of The Da Vinci Code
Internet Presence: The audience for this book is most certainly web-savvy, so the author intends aggressive promotion online. A website devoted to the book at www.whatireallywanttodo.com will undergo development with additional tidbits for readers as well as relevant industry links (such as IATSE Local pages) and purchase information for the book.
Dzyak/What I Really Want to Do TM 6
Author will establish a presence for the book on websites like Myspace.com,
cinematography.com, cinematography.net, soyouwannasellascript.com, film-connection.com,
Mandy.com, filmmentor.com, and ifilm.com.
Specialty Book Stores: In addition to standard brick & mortar and Internet outlets, like
Barnes & Noble and Amazon.com, there are a number of industry specific bookstores and
supply companies which will likely agree to carry What I Really Want to Do TM. These include
Samuel French, Birns & Sawyer, the Panastore at Panavision, filmmakerstore.com,
studentfilmmakers.com, and webfilmschool.com.
Conventions: Conventions are a fertile ground for promotion of this book. Relevant
conventions for What I Really Want to Do TM include Showbiz East in New York City (over
8,500 visitors), Cinegear in Los Angeles (over 6,500 attendees), and NAB/National Association of Broadcasters in Los Angeles (over 100,000 visitors).
Serial Rights/Additional Articles by Author: Several film industry and “fan” publications and
internet websites like Premiere, Filmmaker, Entertainment Weekly, Hollywood Reporter,
Variety, Film Threat, American Cinematographer, Dramalogue, Movietickets.com,
Hollywood.com, Entertainmentcareers.net, and Mandy.com provide exposure to an audience
actively interested in the filmmaking process. Excerpts from the book may be sold to these
publications and the author is exploring additional articles for submission.
Dzyak/What I Really Want to Do TM 7 Personal appearances: The author has an artillery of anecdotes to share at personal
appearances and looks forward to promoting the book at signings, at job fairs, Career Days,
and career coaching seminars. He will mine professional networks for additional personal
appearances where the book may be sold.
Mailing: Film schools and film production workshops will be sent promotional materials about
the book.
By explaining the purpose of the book to IATSE, SAG, and DGA representatives, established
professionals in the industry will be exposed to the book via the Union Local websites,
publications, and at the Local offices. Additionally, the book will be useful to IATSE members
who are required to attend the Safety Pass Program, which is administered by the Contract
Services Administration Trust Fund. Because all IATSE and Basic Craft members are required to attend, exposure to What I Really Want to Do TM will be 100%.
Dzyak/What I Really Want to Do TM 8
What I Really Want to Do TM SERIES POTENTIAL
The What I Really Want to Do TM Series is a hip “careers for dummies,” demystifying the industries that most intrigue the reading public.
The author is securing the series trademark and looks forward to expanding the series.
Offering ‘internships in a book’, suggested volumes include:
● What I Really Want to Do TM : Off-set in Hollywood (discussing Producer, Writer,
Executive, Agent, Manager, Personal Publicist, and post-production jobs such as editing, sound and visual effects)
● What I Really Want to Do TM is Play Baseball!
● What I Really Want to Do TM is Rock & Roll!
● What I Really Want to Do TM is Model!
Dzyak/What I Really Want to Do TM 9 AVAILABLE RIGHTS
North American rights are available, although author is happy to discuss world rights with any publisher with a strong foreign/translation sales potential.
Author will retain performance and merchandising rights for this project.
(Using his expertise, he has plans for a DVD offering live interviews to complement the book, offering additional personal insight as experts speak on how the business has shaped and affected their lives both professionally and personally.)
Dzyak/What I Really Want to Do TM 10
COMPETITIVE MARKET
The motion picture industry attracts hundreds of aspiring artists and technicians from all over
the globe every year. Books claiming to hold the secret to breaking in and achieving success
permeate the shelves trying to take advantage of that undying interest. However, upon closer
examination, not one of them gives the reader true insight into what life is really like. What I
Really Want to Do TM is the only title that offers a detailed look inside the business on a shot-
by-shot basis. With this book, aspiring professionals will learn what it is like to create and maintain a viable career in the film industry. Some complementary titles include:
Career Opportunities in the Film Industry, Fred Yager and Jan Yager (Checkmark Books,
2003, 232 pages)
This book focuses on merely defining the purpose and functions of some jobs within the industry. What I Really Want to Do TM is comprehensive and conversational, going beyond
simplistic “facts” to provide the reader with the actual experience of daily life on set for each
individual player from moment to moment.
For instance, Career Opportunities in the Film Industry completely ignores over half of the
camera department: the Second Assistant Cameraman, the Film Loader, the Unit Still
Photographer, and the Digital Imaging Technician. These forgotten jobs bear significance, as
they are typically entry-level positions in the department. This pattern of omission continues
throughout the book as the writers place emphasis on top-level jobs in various departments
with little to no mention at all of what it actually takes to get there.
Dzyak/What I Really Want to Do TM 11 What I Really Want To Do TM is a comprehensive guide to the careers that will land someone
on set in Hollywood, rounded out with first-person insight from those actively working on set
right now. It is a one-stop book for those looking to map out the best career for them in the film
business.
Hollywood 101, Frederick Levy (Renaissance Books, 2000, 303 pages) While Hollywood 101 doesn’t ignore nearly as many on-set jobs as Career Opportunities does,
the practical information for the aspiring film industry professional is even less useful. While it
does give some indication as to what each position requires, there is no information as to how
one actually gets a specific job nor is there content about what the working experience is like.
Working within the film industry at any level is not just about getting a job; it’s about keeping it
and moving up from it. Acknowledging that a film career is also a lifestyle choice, What I
Really Want to Do TM goes above and beyond anything on the market in painting that picture for the reader as they consider their career.
Breaking & Entering: Land Your First Job in Film Production, April Fitzsimmons (ifilm
Publishing, 1997, 204 pages)
More of a guide to freelancing in the film industry, this title offers very general information. The
definitions of the various jobs are often just one sentence long and there is a very non-job-
specific “guide” to finding work. Like the other titles, there is little to no indication for the reader as to the reality of what it takes to break into the business and what life will be like once there.
Dzyak/What I Really Want to Do TM 12
Opportunities in Film Careers, Jan Bone (NTC/Contemporary Publishing Company, 1998,
146 pages)
A general overview of the entire film industry, this book gives a basic rundown of the major
jobs necessary to make a film but ignores the entry-level positions almost without exception.
Someone serious about having an actual career in the professional motion-picture industry is
again left with no true practical knowledge to build from.
The What I Really Want to Do TM series will compete directly with the Opportunities in… series, however it will give a far more comprehensive and useful look at what the most popular careers entail at the “office” and out.
What I Really Want to Do TM:
… helps aspiring filmmakers understand the various on-set jobs and how they are interrelated
…assists readers in establishing long-term career goals best suited to their talents, wants and needs
... is the only book to offer insight into the working day of industry professionals
… offers a comprehensive guide to jobs in film production
…includes insight from qualified industry professionals
…is written by an actively employed Hollywood professional
Most importantly, for the first time, What I Really Want to Do TM puts the reader right on set in
Hollywood to “experience” his dream job.
Dzyak/What I Really Want to Do TM 13 COMPARATIVE TITLES
For a high school grad choosing a college major or a university grad entering the workforce,
casual interest in an occupation or sparse anecdotal information isn’t always enough to ensure
a successful career. The following titles are similar in tone and intent of What I Really Want to Do TM as they offer specific insight into the nitty-gritty details of what one’s life may actually
be like as he reaches for his dreams. While these successful titles do a very good job at
helping writers understand what they are getting themselves into, What I Really Want to Do TM
is a film corollary; it examines each “player” in the filmmaking process so that a complete
picture of life on set in Hollywood can be understood and the reader can map a successful and exciting career.
2006 Writer’s Market, Kathryn S. Brogan (Writer’s Digest Market Books, 2005, 1178 pages)
Guide to Book Publishers, Editors, & Literary Agents 2006, Jeff Herman (Three Dog
Press, 2006, 806 pages)
The premiere guides for aspiring authors, Writer’s Market and Guide to Book Publishers
discuss every conceivable issue that a new writer should know as he embarks upon this career
path. In the same way, What I Really Want to Do TM covers all aspects of daily life for each
individual who is working on a film set, from what it takes to get there, the kind of money that can be made, what kind of clothes should be worn, what each person is doing before, during and after a shot, to how to advance to better and more lucrative positions.
Dzyak/What I Really Want to Do TM 14
Writer’s Market Companion, 2nd Edition, Joe Feiertag and Mary Carmen Cupito (Writer’s
Digest Books, 2004, 344 pages)
In addition to taking the aspiring writer through the various scenarios he might encounter during his career, this book assumes that the reader knows absolutely nothing by illustrating very bluntly everything that should be known, such as how to properly write an “E-query” to walking him through Copyright filing. What I Really Want to Do TM in Hollywood also holds the
reader’s hand and answers the myriad of questions that he never knew he should ask in the
first place.
Dzyak/What I Really Want to Do TM 15 ABOUT THE AUTHOR
Brian Dzyak has spent the better part of his life telling stories and playing with cameras. From goofing off with friends making movies in the backyard as a kid to working on some of the biggest feature films ever made, his life has been geared toward being active in the motion picture and television industries.
Telling the story of the typical Hollywood movie set, What I Really Want to Do TM in
Hollywood draws on Brian’s nearly twenty years of professional media experience. This project actually began as a response to countless letters, emails, and phone calls from aspiring filmmakers who all wanted to know how they too could find success in this industry.
A member of IATSE Local 600, Brian currently works as a freelance Cameraman in Los
Angeles, primarily shooting behind-the-scenes footage and interviews for television and DVD use. Recent film sets he has worked on include We Are Marshall starring Matthew
McConaughey; You, Me, & Dupree starring Matt Dillon, Kate Hudson, Owen Wilson, and
Michael Douglas; Evan Almighty, the sequel to the box office hit Bruce Almighty; Constantine starring Keanu Reeves; Kicking & Screaming starring Will Ferrell; and voice sessions for the animated Warner Brothers film Happy Feet starring Robin Williams, amongst many others.
As a motion-picture Camera Assistant, Brian’s resume includes films like Titanic, Broken
Arrow, Murder in the First, Star Trek Generations, Pirates of the Caribbean, Inspector Gadget,
Bring it On, and Showgirls. Television credits include such popular shows as NYPD Blue, The
Dzyak/What I Really Want to Do TM 16
X-Files, Star Trek Enterprise, Star Trek Voyager, Strong Medicine, The West Wing, Charmed,
and Tales from the Crypt.
Brian has worked on a large variety of projects with the talents of James Cameron, Frank
Darabont, John Carpenter, John Woo, Michael Bay, Steven Spielberg, Joel Schumacher, Jerry
Bruckheimer, Joel Silver, Brian Grazer, Kevin Costner, Tom Hanks, Steven Seagal, Kevin
Bacon, William Shatner, David Duchovny, John Travolta, Christian Slater, William H. Macy,
Leonardo DiCaprio, Dustin Hoffman, Martin Sheen, Charlie Sheen, Diane Lane, John Cusack,
Burt Reynolds, Diane Keaton, Lindsay Lohan, Jessica Simpson, Dennis Quaid, Merv Griffin,
Warren Beatty, Johnny Depp, Alec Baldwin, Matthew Broderick, Sarah Jessica Parker,
Michael J. Fox, Eddie Murphy, James Earl Jones, Mel Gibson, Julie Andrews, Celine Dion,
Barbra Streisand, Michael Jackson, Usher, Faith Hill, Andrew Lloyd Weber, and many more.
With such a diverse range of experiences to draw upon, Brian is able to take you into the world
of Hollywood like never before.
Dzyak/What I Really Want to Do TM 17 FORMAT/DELIVERY
What I Really Want to Do TM will survey more than 50 careers in the film industry, introducing
readers to some for the first time ever.
In conversational language each chapter explores what the job actually is, what the position is
expected to do, what you need to have, how to find work, and a typical day-in-the-life.
Chapters are peppered with anecdotes or tips where applicable. Entries conclude with an
examination of where one can “move up” from that career.
In line with other successful career guides, What I Really Want to Do TM will be approximately
600 manuscript pages, including checklists, sidebars, glossary and index.
Photos will be included when necessary to illustrate equipment or special situations,
approximately two per chapter. Author requests a modest art budget for any art not provided
by publisher.
The manuscript can be available 3 months following signing.
Dzyak/What I Really Want to Do TM 18
CHAPTER OUTLINE
The departments on a film set (Camera, Grip, Electric, Production, Art, etc.) are each given their own section and the specific jobs within those departments have their own chapters.
PROLOGUE Intro piece by notable Producer or Director, TBD
PART I: The Business…really! Chapter 1 What I Really Want to Do Chapter 2 What I Really Need to Know Chapter 3 What I Really Need to Have Chapter 4 Where I Really Need to Go Chapter 5 What Am I Getting Myself Into
PART II: “Creative” Chapter 6 What I Really Want to Do is be an Extra Chapter 7 What I Really Want to Do is Stand-In Chapter 8 What I Really Want to Do is Act Chapter 9 What I Really Want to Do is Direct
PART III: The Stunt Department Chapter 10 What I Really Want to Do is Stunts Chapter 11 What I Really Want to Do is Stunt Coordinate
PART IV: The Production Department Chapter 12 What I Really Want to Do is Production Assist Chapter 13 What I Really Want to Do is Train for the DGA Chapter 14 What I Really Want to Do is Second Assistant Direct Chapter 15 What I Really Want to Do is First Assistant Direct Chapter 16 What I Really Want to Do is Unit Production Manage
PART V: The Camera Department Chapter 17 What I Really Want to Do is Load Chapter 18 What I Really Want to Do is Second Camera Assist Chapter 19 What I Really Want to Do is First Camera Assist Chapter 20 What I Really Want to Do is Operate Chapter 21 What I Really Want to Do is DIT Chapter 22 What I Really Want to Do is DP
Dzyak/What I Really Want to Do TM 19 PART VI: The Sound Department Chapter 23 What I Really Want to Do is Pull Cable Chapter 24 What I Really Want to Do is Operate Boom Chapter 25 What I Really Want to Do is Mix Sound
PART VII: The Grip Department Chapter 26 What I Really Want to Do is Grip Chapter 27 What I Really Want to Do is Dolly Grip Chapter 28 What I Really Want to Do is Best Boy Grip Chapter 29 What I Really Want to Do is Key Grip
PART VIII: The Electric Department Chapter 30 What I Really Want to Do is Electric Chapter 31 What I Really Want to Do is Best Boy Electric Chapter 32 What I Really Want to Do is Gaffe
PART IX: Special Effects Chapter 33 What I Really Want to Do is Special Effects
PART X: Crafts Service Chapter 34 What I Really Want to Do is Crafts Service
PART XI: Medical Chapter 35 What I Really Want to Do is be a Medic
PART XII: Script Supervisor Chapter 36 What I Really Want to Do is Script Supervise
PART XIII: The Wardrobe Department Chapter 37 What I Really Want to Do is Costume Chapter 38 What I Really Want to Do is Costume Supervise Chapter 39 What I Really Want to Do is Costume Design
PART XIV: The “Vanities” Chapter 40 What I Really Want to Do is Makeup Chapter 41 What I Really Want to Do is Style Hair
PART XV: The Art Department Chapter 42 What I Really Want to Do is Art Direct Chapter 43 What I Really Want to Do is Production Design
PART XVI: Property Chapter 44 What I Really Want to Do is Props
Dzyak/What I Really Want to Do TM 20
PART XVII: Set Decorating Chapter 45 What I Really Want to Do is Greens Chapter 46 What I Really Want to Do is Standby Paint Chapter 47 What I Really Want to Do is Set Dress Chapter 48 What I Really Want to Do is Leadman
PART XVIII: Locations Chapter 49 What I Really Want to Do is Location Manage
PART XIX: The Publicity Department Chapter 50 What I Really Want to Do is Unit Publicity Chapter 51 What I Really Want to Do is Unit Still Photography Chapter 52 What I Really Want to Do is EPK Produce Chapter 53 What I Really Want to Do is EPK Camera Chapter 54 What I Really Want to Do is EPK Audio
PART XX: The Transportation Department Chapter 55 What I Really Want to Do is Drive Chapter 56 What I Really Want to Do is Transportation Captain Chapter 57 What I Really Want to Do is Transportation Coordinate
PART XXI: The Child Welfare Department Chapter 58 What I Really Want to Do is Teach
Afterword Final general thoughts and advice regarding career and life choices.
Glossary of Common Terms
A film set is full of nicknames and uncommon language and this section will help translate these for the reader.
Index
Additional Resources
Dzyak/What I Really Want to Do TM 21
Chapter 53 WHAT I REALLY WANT TO DO IS EPK CAMERA!
In This Chapter: What an EPK Cameraman is What an EPK Cameraman is expected to do What you need to have How to find work A typical Day-in-the-life How to “move up”
What the heck is an EPK Cameraman? EPK is short for “Electronic Press Kit.” As part of the marketing for a new film, a studio will give media outlets a package of promotional materials, including a videotape with behind-the-scenes footage and interviews with cast and crew. The EPK Cameraman shoots all of that material.
That, and what else? Getting that footage isn’t as easy as it should be. One would think that because the studio hires you that everyone involved would welcome your presence on set so that their film could be promoted as well as possible. The reality is decidedly different much of the time.
Assuming that the Unit Publicist has done at least the bare minimum, which is advising cast and crew that EPK will be on set that day, there is sometimes a distrust that the EPK unit is somehow out to get “dirt,” as if it were shooting for one of the nightly tabloid entertainment programs. Some Directors and Actors feel as if you’re spying for the studio executives who can’t be on set. But perhaps one of the biggest obstacles you’ll face is Actors who just don’t want you around. They may feel entirely comfortable having two or more film cameras recording their work, but the presence of your video camera isn’t acceptable to them. The reasons why vary from person to person. Even though you are on “their team” and working with the studio to positively sell the product, some Actors (and even Directors) distrust exactly how the material you shoot will be used. The way they combat those issues is to just kick EPK (meaning you) off the set.
So a large part of your job involves politicking and making friends on set if for no other reason than to let them get used to you. See, unlike the Still Photographer who is hired to be on set every single day Dzyak/What I Really Want to Do TM 572 Part XIX: The Publicity Department ______
of production, the EPK crew might pop in days or weeks after the rest of crew has already been working. You might shoot for just one day or several in a row, disappear for a few days or weeks, then show up again. Because of this, you never really become part of that crew and tend to remain seen as an outsider. So any headway you can make to ingratiate yourself to everyone on set goes a long way in helping you get the shots you need to for good behind-the-scenes footage. Not to mention that you should just be nice anyway…it’s good to make new friends!
I must be making really good money then, right? Because EPK falls under the marketing aspect of a film and not production proper, a non-studio production company that has the contract to do the EPK/DVD content for a film will typically hire you as a freelancer. As such, you won’t earn hours towards your benefits (if you are member of IATSE Local 600) or be paid on any contracted scale.
Because you are technically being sub-contracted out, you invoice the company that hires you for the agreed upon day-rate plus any overtime and/or equipment you rent. In general, expect to invoice between $400 and $600 a day plus the rental fee for the camera equipment if the company is renting from you. A typical camera package will rent for anywhere from $500 a day for an older BetaSP to upwards of $1000 a day or more for High Definition. And while a typical movie production schedule is roughly 12 weeks, you can expect to only shoot between 7 to 15 days total in that time, non- consecutively. So you’ll be filling the in between days with other behind-the-scenes work, the usual assortment of industrial and corporate shoots, or other random days on network or cable programming.
What I really need to know…
What else is there to know? There are really just three things to know how to do before jumping into this line of work. First and foremost is just knowing how to shoot video well. Shooting behind-the-scenes sounds like a ridiculously easy task. Just point the camera and shoot what happens in front of you…right? Well, not exactly. Aside from the knowing how to set up and use a camera without fumbling around, you have to know what a good frame is. You have to know the best way to shoot what’s happening in front of you, from where to stand, how high or low to be, when to make an on-camera move or not, to anticipating what’s going to happen before it happens. It doesn’t do you any good to see something interesting going on next to video village or on the set and then decide to shoot. By then, it’s too late.
Which leads to the second thing you should know, and that is how a movie set works. Nearly every set follows the same protocol. Each movie, TV show, and music video follows the same basic pattern to get from “setup” to “shooting.” Knowing that is half the battle. Getting a feel for the “mood” of the set, the way the Director works, how friendly a crew is, how the Actors react to everyone else including you and your camera…all of those things are vitally important as you are one of the only people on set who is not there to specifically help make the movie. Knowing what to shoot is of Dzyak/What I Really Want to Do TM ______Chapter 53: What I Really Want To Do Is EPK Camera! 573
course important. But perhaps even more so is knowing when to stop. When things aren’t going well, if the Director or the Actors aren’t happy, if somebody makes a mistake or an accident occurs…all of that sounds like juicy “reality” stuff, but you’re not there for “dirt.” Shooting the “bad” might be interesting for anyone who wasn’t there, but it’s a good way to get yourself kicked off set for the night or forever. You are there to help promote the project positively.
While you are keeping a lookout for good material to shoot, always keep an observant eye on all of the principle Actors in case one of them decides to suddenly wave you off. If that happens, you immediately drop your camera and leave the set so that he doesn’t think that you’ll try “stealing” shots when he isn’t looking. If you ever try something like that and get caught, not only will that footage not be approved anyway, but you won’t be allowed back on set ever. Help establish that respectful relationship by remaining observant at all times.
The “event coverage” is only part of the job. Usually out of sight from the rest of the crew, the EPK unit will set up and shoot interviews with principle cast and crew. It is usually these interviews that provide the soundtrack over which the footage you’ve been shooting will be laid. So in a typical film- style environment, the Director of Photography has three departments specializing in camera, grip and electric. As a freelance Videographer, you don’t have that luxury. Those responsibilities all fall into your lap. So in addition to bringing a video camera along, you will fill your personal vehicle with everything you could possibly need to shoot a “talking head” interview. You and your sound person will load the lights, electric, and grip equipment onto a cart (Magliner) and push it onto set or wherever else the interviews have been slated to take place. You may be shooting on a working set so that the busy crew appears in the background or you may get a small corner of a stage away from everyone else. The key thing here is that you have very little control over the situation most of the time. Sometimes things work out and the interviews look as good as everyone dreamed they would. At other times, the production schedule or locations just don’t allow for the optimum-shooting environment. You work with what you’ve been given and provide your Producer with the very best images possible given the parameters. In the end though, most interviews you see are not the result of the cameraman just shooting what was in front of him. More often than not, a considerable amount of energy has gone into designing and lighting the backgrounds and lighting the interviewee in less than perfect conditions.
So how do I get work? You most likely aren’t going to start your freelance videography career as a behind-the-scenes cameraman. Most people in this niche part of the business have and continue to shoot an array of other types of projects ranging from industrial and corporate needs to “high end” programming. Through your contacts in those other areas you will be recommended to EPK/DVD producers. Once you have sufficient experience as a Videographer, you can approach EPK companies directly with a resume, recommendations, and/or a reel.
Dzyak/What I Really Want to Do TM 574 Part XIX: The Publicity Department ______
What I really need to have…
DO I need to buy my own camera package? Isn’t that expensive? Yep. It’s expensive. The good news is that you don’t have to buy anything at all. Not really. You do need to use a camera, small lighting kit, a C-stand or two, as well as an assortment of other accessories like a tripod, monitor, extension cords and a cart to move it all around. One reason you might want to consider buying your own package of equipment is that once it’s paid off, you reap the financial benefits instead of paying a rental fee to someone else. The downside to owning is two-fold. For one, many companies now own their own packages and only hire cameramen willing to use them. It saves those companies the compounding cost of renting from freelancers or rental houses. The other potential pitfall is that the type of camera you own may not be the right format that they want to use. For instance, you might get a great deal on an older BetaSP camcorder, but if the company wants the material shot on Digibeta you have to choose to either turn down the job in hopes of finding other work that will use your camera or let your camera sit while you rent the one they want. Recent years have been particularly tumultuous as formats are rapidly heading toward High-Definition technology. The time isn’t far off when the EPK cameraman and the main “filming” unit will be using the exact same High Definition camera format.
So perhaps you forget the camera but just buy the rest, like the lights, tripod, monitor, and other stuff. Well, maybe you can get enough rental out of it to justify the cost, but again, if the company has their own package, the chance that your limited package gets rented is low.
There isn’t one right answer to the question. It eventually comes down to how much you are able to spend, how much you want to invest, and how much of a gamble you’re willing to take. It’s an expensive fishing pole you’re buying.
Whether you choose to buy a camera package or not, you should still be familiar with all types of cameras that might be thrown at you. There is no one single format which is used more often so it is in your best interest to know how to use everything including Mini-DV, BetaSP, DigiBeta, HDV, and HDCAM. If you don’t know what those terms mean, you’re not ready to do this yet.
What’s the best way for someone to reach me? The world of freelance video moves pretty fast. Rare are the times when you get more than a few days notice on an upcoming job. More frequently you’ll be called for something that’s happening tomorrow or a couple of days from now. Keep a cellular phone with you at all times and return calls as soon as possible. Unless the company really likes you or needs you, the Production Coordinator won’t just sit around waiting for you to call back. Even a 30-minute delay can mean that the job went to someone else. Never forget that you’re expendable. There is always someone else out there who can do your job at least as well if not better and/or cheaper.
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Where I really need to go…
I just want to work. You can get videography work in just about any decent sized city, but steady EPK work will go to people living in the Los Angeles area and wherever the current “hotspot” happens to be. Currently, there is no actual requirement that you are a member of IATSE Local 600 (the camera union) to shoot EPK on a Union project, but more often than not, the EPK Producer and/or the production itself will ask and/or require that you be.
What am I getting myself into?
So who actually calls and hires me? In most cases, you’ll get the call from either the EPK Producer who will be out on set with you or from the Production Coordinator from the company that has the EPK contract with the studio. Those Producers and companies may shoot a variety of other types of programming in between set visits so in order to build and keep a relationship with them, it never hurts to take as many days with them as possible, no matter what the job is.
Okay, I got the job. What now? As with every other job you do, double-check the tape format (BetaSP, DigiBeta, High-Definition, etc.) the aspect ratio (4x3, 16x9), and frame rate (if applicable). Find out if you’re shooting interior or exterior, day or night, and whether or not there are any special circumstances you should know about, like rain or difficult personalities on set that might affect you.
Get a location and a call time and be ready to go.
What will my life really be like?
6:45 am — GETTING TO SET Your primary mission is to shoot the principle Actors as they rehearse with the Director and do the actual takes. Therefore, you won’t have to arrive on set until just before the first rehearsal. The rest of the crew will have already moved their gear into place by this time. Your Producer should find the Unit Publicist and all four of you (Publicist, Producer, Videographer, and Audio) go onto stage at the same time. Assuming this is your first time on the set, nobody will know who you are. There should be an announcement on the call sheet that states that “EPK ON SET TODAY” in bold letters, so everyone should be expecting to see a video crew, but don’t just rush in on your own. If there are any questions as to your purpose, you’ll want the Unit Publicist with you to head off any trouble. Dzyak/What I Really Want to Do TM 576 Part XIX: The Publicity Department ______
7:05 am — REHEARSAL Before you just barge onto set and start shooting, make doubly certain that the First AD, the Director, and the Actors all are aware that you are there. Get the First AD’s attention…introduce yourself to the Second AD if necessary to do this…then ask him to talk to the Actors about you. Remember, in a lot of cases, the Actors aren’t too thrilled to have a video camera shooting them so anything you can do to establish a respectful relationship with them will go a long way.
If everyone is cool with you shooting the rehearsal, find a spot or two that doesn’t get in the way of the Director and the DP. You’ll sometimes be including them in your footage anyway so it shouldn’t be a problem. Hopefully they’ll do enough rehearsals that you can get the standard assortment of establishing shots and cutaways. Don’t be too much of a nuisance as you record the blocking process. If at any point you sense that things are getting tense between the Actors and the Director or anyone else, it behooves you to back off and stop shooting. The more they recognize that you are just there for the good stuff, the more you’ll be allowed to shoot without too many limits.
7:15 am — CAMERA SETUP Unless there is something extra special going on that your Producer wants to cover, this is your time to step away while the crew lights and sets cameras. On occasion, you may be there to specifically cover a stunt or some other out of the ordinary setup in which case you’d jump in there and shoot anything and everything pertinent. But in general, just stay out of the way as much as possible. Use the time to figure out where the film cameras will be so that you know in advance the one or two spots you’ll be able to shoot from. You might find a great shot, but if it’s being seen by one of the film cameras or is in the eye-line of an Actor, don’t even think about shooting from there. On occasion, there simply isn’t anywhere to shoot from. If the set is too narrow or there is absolutely no place on the ground to squeeze in for a shot, consider going up to the catwalk or shooting the Director at video-village. Chances are they won’t be making room for you so you’re on your own to find adequate spots to shoot from.
Often there is just one good place to be and the Unit Still Photographer already has it. She has a certain unstated priority over you mostly because she’s there every day and you’re not. If you establish a good relationship with the Unit Photographer, you’ll find that you can work in tandem, trading off good shooting spots and trading important information.
7:30 am — ROLL CAMERA Be in your predetermined spot and start shooting the second you hear the First AD call for quiet and/or “Last looks.” Your shots will range from including the behind-the-scenes “stuff,” like cameras and people to tighter shots which have only the Actors. Shoot what you need being as quiet and unobtrusive as possible. Remember, in general, many Actors don’t really want you there, so any excuse you give them to kick you off the set is one they’ll take. You don’t want to give them any valid reasons to do it.
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7:33 am — CUT, LET’S GO AGAIN Shoot wider or tighter or find another position to cover the action. If the Actors and/or Director are prone to goofing off in between takes, keep rolling. Just because the film cameras are told to cut doesn’t mean you take the same cue. You’re there to capture the process, which means that you could be rolling several hours of tape per day.
7:55 am — CUT, MOVIN’ ON Again, if anything remotely interesting happens after the cameras cut, keep rolling on it as permitted. They’ll continue in the routine of rehearsal, blocking, setup, and shooting until lunch. Make an effort to get the ground rules established before you begin shooting anything at all. Some Actors will let you shoot anything and everything while others prefer that you don’t shoot rehearsals. A few don’t want you rolling on actual takes, which makes your job quite difficult. Some Directors want you to shoot everything while others shy away from the camera and would rather you concentrate on everybody else. Find these parameters out as soon as possible and then follow the rules.
1:00 pm — LUNCH There is nothing happening on set, so in most cases, you will go to lunch with the rest of the crew. On rare occasion, if there is an interview to do and there will be absolutely no time to do it during the course of the shooting day, the Unit Publicist may ask you to shoot during this time. In that case, you will have gotten some warning and a place to preset and light your shot.
2:00 pm — BACK TO WORK More of the same unless you have interviews to do. Sometimes you’ll be asked to keep some “production” in the background over the interviewee’s shoulder. Other times, you’ll be shooting on an empty part of the set or elsewhere out of sight (and sound) from the rest of the crew.
As you integrate yourself with the rest of the crew, take time to seek out and establish a relationship with the Electric Department. Along with the Assistant Directors, you will probably need the services of the Electrics more than anyone else on set as you set up for interviews and charge your batteries.
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Figure 53.1 Interview setup 4:45 pm — WRAP What’s this? Wrapping early? The rest of the crew is still shooting and will probably go at least until 9pm. You come in late and leave early because you’re on a 10-hour day. EPK budgets are relatively small so studios are reluctant to pay overtime for this three-person crew unless absolutely necessary. Your Producer should arrange an appropriate call time for the next day (if you are returning the next day) and send you off. You might stay longer if the scenes being shot justify the footage you’d shoot, such as an impressive stunt or if you absolutely have to get an interview done.
What I really want to do is move up…
Working as a freelance Videographer is a career unto itself. You ARE several film-style departments all in one. With that in mind, there is no direct path to go from here. As you grow older and your shoulder begins to hurt from so many years of carrying the camera around, a natural path to travel is to become a freelance entertainment Director or Producer. You’ve likely spent many years working with experienced and inexperienced Producer/Directors or you’ve been sent out on your own. It shouldn’t be too big of a leap to segue into an “Above-the-Line” job. This isn’t to imply that you’ll be producing or directing large studio features. No, your experience and clout will still be in the video realm of EPK, industrials, reality and anything else that requires the protocol of video work.
If this is the way you wish to go, you’ll need to augment your experience with knowledge about legal contracts and post-production requirements. You need to know everything that involves contacting and dealing with clients, talent, crews, all aspects of production, and logistics. You’ll find that you probably are aware of most of it in an indirect way, so use your list of contacts and let them know what it is you want to do. Chances are, if they’ve trusted and liked you enough to shoot for them, they’ll be more than happy to help you move up.
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