ASK & DISCUSS INDEX

11 years, 11 months ago - Paddy Robinson-Griffin

Cinematographer should not expect to carry any copyright, everyone is an employee of the producer/production and is it understood you're working for hire. If it was an unpaid collaboration, then it would revert to what the contracts said, but I can assure you the fastest way to guarantee no further work is to start trying to throw moral rights around over the images produced.

There never was a BECTU rate for DoP's, and I don't believe any of the old PACT/BECTU rates apply beyond guidance any more, it's all by negotiation. If you agreed a rate, you agreed it. If you disagree, don't do it.

What script supervisor work are you having in post, and expecting £150/day for? Their job is usually long finished by the time you're in post.

BTW do you ever read the responses to your questions? I see you post a lot, sometimes you get a response but you never seem to acknowledge it. Makes it less attractive to spend time answering TBH.

11 years, 11 months ago - John David Clay

Paddy,

Thanks for this one, no contracts involved just come off feature as script supervisor that's why I asked about pay. shoots generally on happening owing to high demand and few people seem to film in Sussex at all. just at BKSTS learning about the maze that is 4K UHD and the tech comparision from canon 5d mk 3 - EPIC - F5 / F65. on their and the Oska Bright committee when set work is minimal

Then Various concept still at drafting stage owing to the irregular nature as mentioned very different to what is get produced at the moment - logistical issues like audition space and how much budget to work with to do 4k or higher work in different locations and for different timeframes 3 weeks seem to be the key there.

not quite how to handle alot of personal have expresses great interest in my work - would be interested to do more documentary work - for variety. how do you get work with a updated CV but minimimal material to show your audience.
Book worm the rest of the time.

have a look at my stage 32.com / IMDB profile...

Thanks for this answer - actors many of them I'm in process of auditioning seem more understanding sometimes than crew.

Best

John

11 years, 11 months ago - Paddy Robinson-Griffin

Hiya,

If you've been script supervising on a feature, there must have been a time when someone said 'hey, will you supervise this script?'. When you said 'yes', the next question (or maybe even the previous one!) is 'What's the pay?'. At that point, you have a contract, just not a written one.

Same with cinematography, you agree a deal. If you want to have a share of the IP, or points in the project the time to sort that out is before you start filming.

Experience with different cameras is important, of course, however the camera only does a part of the work, the bulk of it is in controlling the light. That's where a cinematographer comes into their element. A great camera with poor lighting style will look dreadful, and just show the flaws even more. Great lighting with a crappy camera will still look amazing!

How do you get work? Age old question. As a cinematographer, become very good at doing something people need. Impress a director who's going somewhere. Impress several. Each gig gets you some more credits and showreel.

You discuss several roles - get good at one thing. A good script supervisor isn't a writer, isn't a camera operator, isn't a producer, isn't a casting director - they get good at a job and that's their base. Find what you really want to do and focus. By all means get an appreciation of the other departments, but decide how you want to be known and dedicate yourself. There are career 1st AD's who will never become feature directors, they are excellent 1AD's and in demand. Same in every department. A good gaffer or grip may earn more than a cinematographer or production manager if they're in demand. Pick your discipline and concentrate on it. Be the best you can be at that one thing.

My 2p, anyway :-)