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  • Camera Assistant Tool Guide: Level I - Starter Kit

    So you know you want to be a camera assistant, but you don't know what tools to start with. Here is a list I have shared over the years with newcomers moving out to Los Angeles. This list is the BARE BONES essentials of what you may need. There are lots of tools that exist, but this specific list is to try to limit the amount of money you may have to spend when you are just barely starting out. As you grow in your career, your kit will grow as well. NOTE: Cost may not be accurate. Prices may have changed since writing this article. Starter Kit: Expendables When you work on a feature or TV show, production should have an expendable budget. Sometimes commercials and smaller jobs have them too - just ask if they do. Expendables are items that can be used up, such as tape, lens cleaner, or kim wipes. If you are to list out expendables for production to buy, it should be reasonable for the job. Don't add unreasonable items on there. If you have leftover expendables after the job is over, it's typically yours to keep. Cost Item Purpose Link $7.64 Paper tape - 1" red Marking actors, mag tags, marking camera positions to come back later, etc https://www.filmtools.com/protapes-1-console-tape-7-colors-1-x-180-feet.html $7.64 Paper tape - 1" blue Marking actors, mag tags, marking camera positions to come back later, etc https://www.filmtools.com/protapes-1-console-tape-7-colors-1-x-180-feet.html $7.64 Paper tape - 1" yellow Marking actors, mag tags, marking camera positions to come back later, etc https://www.filmtools.com/protapes-1-console-tape-7-colors-1-x-180-feet.html $7.64 Paper tape - 1" green Marking actors, mag tags, marking camera positions to come back later, etc https://www.filmtools.com/protapes-1-console-tape-7-colors-1-x-180-feet.html $7.64 Camera log book Lots of people pay for an app to keep logs, but here is a paper log https://www.filmtools.com/camera-log-booklet-3-color-choices-0.html $1.29 Pens I prefer ones that don't make clicking sounds so you can write notes while the take is going https://www.amazon.com/BIC-Round-Ballpoint-Medium-10-Count/dp/B00005249G/ $2.46 Twin tip permanent marker black I specifically like using the thin one for my marking discs as a 1st AC (you may not always get the fancier wireless follow focus units starting out) https://www.filmtools.com/shartwintipp-2133.html $1.75 Slate marker Chisel tip is the best :) and you can write nicer with chisel tip if you practice https://www.filmtools.com/marksalot-dry-erase-whiteboard-markers-ave24408.html $8.99 Bongo ties It's a fancy rubber band. Things just need to be tied sometimes https://www.filmtools.com/bongo-ties-cable-ties-10-pk.html $17.95 Pancro Special liquid to clean lenses https://www.filmtools.com/pancro-4oz-professional-lens-cleaner-spray-bottle-pan001.html $5.10 Kim wipes Special lens tissue to clean lenses https://www.filmtools.com/kimexl45x852.html $17.97 2" velcro (hook and loop) Various uses. Mostly to velcro items onto camera (timecode box, etc) https://www.filmtools.com/2-black-hook-and-loop-adhesive-backed-material.html $5.00 Small notebook This list of expendables will be approximately $100. If you truly are starting out, it's unlikely you'll have these things laying around. Make sure to ask the producer if they can pay for expendables. It does not hurt to ask. If they don't have a budget for expendables and you need to make this purchase, be sure to keep the receipts so you can write them off during tax season. Starter Kit: Long-term Tools Here is a list of tools that you will have to use your own money on, but it will be tools that you can use for the duration of your camera assistant career. You won't need to purchase it again unless you lose it, have wear and tear, or find better tools to use. Cost Item Purpose Link $64.98 Open Husky Runbag As a 2nd AC, you should always bring the run bag + lenses where the camera moves. The run bag should hold everything you need to grab immediately (filters, a few batteries, camera accessories). Personally, I like the open husky so it's easy to grab things. I have seen 2nd AC's prefer using the Panavision or Burke bags. The husky bag is also the cheapest if you're starting out. https://www.homedepot.com/p/Husky-20-in-Pro-Tool-Tote-with-Removable-Tool-Wall-67129-02/306052568 https://www.filmtools.com/panavision-camera-bag-w-tray.html https://www.burkbags.net/ $47.50 2nd AC pouch A pouch to have immediate items on you as a 2nd AC. Some people prefer the vest pouch https://www.filmtools.com/cingebags-ac-pouch-cb03.html https://www.bhphotovideo.com/c/product/1056964-REG/setwear_sw_05_538_radio_chest_pack.html/ $22.97 Hard Measuring tape To measure lens height and other things. I like this one because it has a magnetic tip https://www.homedepot.com/p/Milwaukee-25-ft-x-1-1-16-in-Compact-Magnetic-Tape-Measure-with-15-ft-Reach-48-22-0325/311017270 $160.00 Leatherman I use this ALL the time. It has a flathead I use as a stubby, a knife, pliers, phillips screwdriver, and scissors. I lost it recently and decided to buy two because I was so lost without it. You can find a leathermans cheaper than this if needed https://www.victorinox.com/en-US/Products/Swiss-Army-Knives/Swiss-Tools/Swiss-Tool-MX-Clip/p/3.0327.MKB1 $5.97 Flat stubby (If you don't have a leatherman) you can get a cheap one at Home Depot. FilmTools also has a fancy one. I have that one and I never use it. https://www.homedepot.com/p/Husky-1-4-in-x-1-1-2-in-Square-Shaft-Stubby-Slotted-Screwdriver-H114X112SFHSD/302346669 https://www.filmtools.com/filmtools-7-screwdriver.html $39.95 Headlamp For working early mornings, late nights, or on a dark stage. Headlamps are good for illuminating the slate when you are slating in the shadows https://www.rei.com/product/202758/black-diamond-astro-300-r-rechargeable-headlamp $8.88 Power strip For charging batteries https://www.homedepot.com/p/6-Outlet-Power-Strip-with-4-ft-Cord-Right-Angle-Plug-2-Pack-YLPT-90B/303319020 $14.39 Scissors non-stick Can get cheaper ones if needed, but I like these small Fiskars https://www.amazon.com/Fiskars-5-Inch-Non-stick-coated-Scissors/dp/B0006HUJQW/ $18.97 Allen keys (standard & metric) The linked one is the set I have, but they are easier to lose. You may want to get the folding hex key set if you're prone to losing things. The problem is you may have a more difficult time reaching hard to reach places on the camera. Other assistants opt for the T handles which give you more torque. It's all personal preference and how much your wallet can handle. https://www.homedepot.com/p/Husky-SAE-Metric-Long-Arm-Hex-Key-Set-26-Piece-HLAHKSM26PC/202934869 $17.99 Rocket blower To clean the lens and inside the camera if necessary https://www.filmtools.com/giottos-rocket-air-blower-large-22444.html $20.00 Flashlight This is not necessary if you have your headlamp, but I have both. The flashlight is on my pouch and I bring out the headlamp if I'm on a dark stage or working outside at night. $65.15 Dummy slate If sound doesn't provide a slate https://www.filmtools.com/engraved-camera-slate-clapperboard.html $15.00 T Marks You can buy these steel T marks and cover it with tape if you are on a budget to buy actual T marks https://www.homedepot.com/p/Everbilt-3-in-x-3-in-Zinc-Plated-T-Plate-2-Pack-15169/202033997 Emergency Cliff bar Sometimes there are sets that will not treat you well and you should make sure you have sustenance Emergency deodorant :) Personally I think it's difficult to work with people if I keep getting a whiff of their body odors. Be considerate of people's noses! Brush your teeth too lol. Emergency bandanna Good for smoky places or if you sweat a lot Emergency sunscreen Emergency gum Emergency hat/sunglasses Some of these items are not totally necessary for a starter kit. For example, you can live without a dummy slate (sound usually has one for you) but before a job starts you should also confirm they have one for the show. A small notebook is also not necessary, but it doesn't hurt to have one. Lastly, if you really are on a budget you don't need to have both a headlamp and flashlight. One will suffice. The total for long-term tools is $501.75 not including the emergency items. A great place to look for used tools is on social media. People are always selling or even giving away items. Here is a popular facebook group: For Sale: Camera Assistant AKS & More! There is also a Los Angeles Young Workers Group that has bi-annual camera yard sales. Their Instagram is the best way to keep up with the events. When I first started, I stopped by Expendables Recycler for some of my tape. Harbor Freight is also a really great place for starter tools. If you have all these items and are looking for a more advanced list, subscribe to be updated when we release these articles: Camera Assistant Tool Guide: Level II - Leveling Up Camera Assistant Tool Guide: Level III - Tools to Make Life Easier Camera Assistant Tool Guide: Level IV - Rental Items Terminology Mag tags - short for magazine tags. This is a label for the card so you can mark that it has been rolled on and is ready to download 2nd AC - short for 2nd assistant camera. This is the position you will likely start out in in camera, if not a camera PA What are some of your go-to tools as a camera assistant? Which tools would you feel lost without? Are there any items you think should be added to this starter kit list? Let us know by filling out our contact form . We'd love to hear from you! Simplify Your Journey with FreeMe! As a newcomer to the world of camera assisting, navigating the tools PLUS the complexities of overtime rules, meal penalties, filling out timecards and creating invoices can be overwhelming. FreeMe is the perfect app for newcomers, offering intuitive tools that simplify these tasks. Streamline your workflow, stay organized, and focus on honing your craft by letting FreeMe do the administrative work for you.

  • Camera Assistant Tool Guide: Level III - Tools to Make Life Easier

    As you advance, you will find there are a lot of great tools out there that makes life as an camera assistant easier. If you are just starting out, check out our other articles Level I: Starter Kit or Level II: Leveling Up , otherwise this article focuses on extra tools that are beneficial, but not a total necessity. Some may disagree and argue that these items listed below are vital, but it all really depends on the person. You will learn how you like to work as you continue on your path as a camera assistant. Tools to Make Life Easier: Expendables Cost Item Purpose Link $7.64 Paper tape - 1" orange MORE tape for marking ground, actors, mag tags, etc // labeled Level III bc you can start collecting more colors https://www.filmtools.com/protapes-1-console-tape-7-colors-1-x-180-feet.html $7.64 Paper tape - 1" purple MORE tape for marking ground, actors, mag tags, etc // labeled Level III bc you can start collecting more colors https://www.filmtools.com/protapes-1-console-tape-7-colors-1-x-180-feet.html $1.26 China marker China markers have a lot of uses. You can use it to mark the sticks to specify a lens height or even on the europlate, to specify how forward the camera should sit on the head to keep it balanced. I have also seen it used on the lens itself as a marker. It erases easily. I don't see these used that often in the field as I used to https://www.filmtools.com/stabilo-white-pencil-crayon-grease-pencil-china-marker.html $59.99 Canned air + nozzle Canned air is useful for blowing dust off the camera or mattebox if you are in a dusty place. Crew also really like to ask you for it so they can blow their ear pieces that have been clogged up. Canned air is very useful for loading film cameras. You need to ensure that it dust, hair, and debris free. Every time you load a mag, you always air it out with canned air. I've also attached a link to an electronic air duster that I've been seeing more often. Note: Canned air is never used directly on the sensor of the camera. Use your rocket blower Joe Gunawan, Local 600 1st AC, highly recommends the 3rd link, cordless air duster because it's filtered air. https://www.filmtools.com/falcon-dust-off-kit-with-chrome-nozzle-10-oz-ground-only.html https://www.amazon.com/Compressed-100000RPM-Electric-Rechargeable-Cordless/dp/B0C4NW76Q8/ https://www.amazon.com/dp/B09LCL5HDY $15.90 Bag It's Rain Cover If there is rain in the forecast, get a few bag its. They have variation of sizes if you would also like to get one for your cart https://www.filmtools.com/bagit6-mill-visqueen-bags-tarps-rain-covers-j400.html $14.99 Cap Its Rain Cover This rain cover is specifically for the camera. It's like a shower cap for the camera. https://www.filmtools.com/cap-it-medium-3-pack.html $6.45 Chamois Some DP's prefer a chamois which is a soft cover that goes over the eyepiece. If you have an expendables budget, ask the DP if there is anything he needs. Make sure you get the size that fits the camera you are working with https://www.filmtools.com/catalogsearch/result/?q=chamois Total for expendables is approximately $99.00 Tools to Make Life Easier: Long-Term Tools Cost Item Purpose Link $64.95 Walkie Surveillance It's nice to have your own surveillance that you know works. This is not a necessity because production typically has surveillance available. https://www.filmtools.com/on-set-filmpro-headset-oshfp100.html $330.95 1510 pelican w/ trekpack This is my primary AC kit. I put all my main tools in here https://www.filmtools.com/pelican-1510-9-clear-pocket-panel-5708.html $96.00 1510 top lid The lid is great for additional storage space. I have so many small items to store: bnc barrels, cable ties, baby pins, cinelock, bongo ties, etc. https://www.filmtools.com/pelican-1510-9-clear-pocket-panel-5708.html $10.25 Mini insert slate Sometimes you have a very very close shot and need an even tinier slate Atlas Lens Co. has a business card that is a mini slate and I have used many times https://www.filmtools.com/sb-is.html $10 Focus pulling camera strap Because why not pull in style? ;) This is what I use to hold my wireless follow focus unit Also, this material is really comfortable. This may not work as a camera strap for everyone because they may need an adjustable strap to wear comfortable. https://www.amazon.com/gp/product/B075XHPY22/ $1.47 Paintbrush For cleaning the camera when you are in dusty places https://www.homedepot.com/p/2-in-Flat-Chip-Brush-1500-2/100626098 $38 Canned air pouch This is especially great if you are working in film. As a 2nd AC or loader you should have canned air accessible https://www.filmtools.com/cine-bags-canned-air-water-bottle-belt-loop-pouch.html $59 Cable wallet I use this all the time. This is where I store my back up cables easily accessible if needed. https://cameraessentials.com/products/cable-wallet $10 Cable clips The idea of cable management is nice, but I always tend to have more cables than these clips can hold https://panastore.com/products/panavision-modular-cable-clips $49.00 Camera Cover This is a nicer camera cover than a space blanket and looks more professional. I personally have the Panavision cover ($80.00) that you can only buy at the physical Woodland Hills Panavision store. The link is to a reputable brand for many other AC accessories. https://www.burkbags.net/store/p25/Camera_Cover.htmlt $7.10 Chalk holder This is to hold your chalk so you don't get your hands all chalky https://www.filmtools.com/commando-school-chalk-holder-the-chalk-chuck-3-colors.html $7.63 1/2" cable cover/cord protector This is actually my favorite way to manage the cables on the camera, especially when the DP has an onboard monitor. It gives it a really clean look https://www.amazon.com/dp/B07FW3GTXB?psc=1&ref=ppx_yo2ov_dt_b_product_details $35 + Filter tags Filter tags are typically placed on the left side of the mattebox so the DP knows what filtration is inside Tip: Cheap way to make filter tags is to save hotel key cards, p-touch a nice label on one side, and put velcro on the other https://www.filmtools.com/filter-tag-starter-set-various.html $15.97 Retractable leash I got this so I could use my rocket blower and then release it and have it hang on my belt. This is definitely not an essential item https://www.amazon.com/Pack-Retractable-Keychain-Carabiner-Tactical-Retractable/dp/B09GK2TSVB/ Marks There are a variety of marks you can get for a variety of sitautions https://www.filmtools.com/filmtools-sausage-marker.html https://www.filmtools.com/filmtools-t-marker-orange-rtp-126-orange.html https://www.filmtools.com/6-industry-mark-various-colors.html https://www.filmtools.com/cge-tools-l-industry-mark-fluorescent-green.html Total for these tools is approximately $736.00 dependent on how all out you want to go. Tools to Make Life Easier: Bits & Bobs Cost Item Purpose Link $81.00 Cinelock This is a really great tool. You can put this at the end of your on-board monitor and quickly take it off if you need to for different builds. For example, you have studio mode with an onboard, but if you need to switch to steadicam, you can just use a cinelock to make changing the builds more efficient on set Kondor Blue also has an affordable option https://www.bhphotovideo.com/c/product/571960-REG/16x9_Inc_169_CL_01_169_CL_01_Cine_Lock_Quick.html/ https://www.samys.com/p/Video-Tripods--Supports/KB_QR_FBM/Kondor-Blue-Mini-Quick-Release-Plate-Blue/254518.html $3.95 BNC barrels This is to connect two BNC cables together. For example, if you only have two 25' BNC cables, you can connect the two to create a 50' run. https://www.filmtools.com/bncbarcon.html $4.85 BNC splitter A splitter helps take one connection and split the image into two lines. Somehow these ended up in my kit over time. I honestly don't think the feed is ever good. I don't use this if I can avoid it https://www.filmtools.com/bnctconnector.html $4.53 BNC right angle adaptor This is useful when ports are difficult to reach and you have to connect and disconnect bnc for some reason. It's also good if it helps avoid pinching your cables https://www.filmtools.com/bncelbow.html $13 Baby pin 3/8" This is useful for handheld monitors if you want to put it on a C-stand or the rental house did not provide you with a baby pin receiver. This also is useful if you need to put a baby pin on the camera for grip to secure a hold onto the camera for safety reasons. https://www.filmtools.com/mse5bapinw3t.html $16 Baby pin 1/4-20" It's good to have variety. The purpose of this is the same as the 3/8" but with a different screw size https://www.filmtools.com/matthews-5-8-baby-pin-with-1-4-20-male-screw.html $42.50 25' BNC (Back up) It's always good to have a back-up BNC cable in case your wireless goes down. https://www.filmtools.com/psc-rg59-bnc-to-bnc-coaxial-cable-25.html Total for bits and bobs are $80.96+ again depending on how much you want to add. I hope these three articles have been useful! Please keep tuned in for our next article: Camera Assistant Tool Guide: Level IV - Rental Items Terminology Europlate : Quick release plate for the Oconnor Sticks : Usually referring to Oconnor standard sticks or baby sticks. Essentially a tripod for the camera but beefier Mattebox : A piece of equipment that goes in front of the lens to carry filters and also helps block out unwanted flares. This can be a mattebox that sits on the rods or be a clip on mattebox that can clip directly to the lens BNC: Stands for Bayonet Neill-Concelman, but it is the connector for video display What are some of your go-to tools as a camera assistant? Which tools would you feel lost without? Are there any items you think should be added to this list? Let us know by filling out our contact form . We'd love to hear from you! Simplify Your Journey with FreeMe! As you continue to book more jobs, managing the workload can get difficult. Juggling calculating overtime, meal penalties, filling out timecards, and creating invoices can be annoying. FreeMe is the perfect app to assist you, offering intuitive tools that simplify these tasks. Streamline your workflow, stay organized, and focus on honing your craft by letting FreeMe do the administrative work for you.

  • How Do I Calculate My Hourly Wages and Overtime? (California)

    On my first feature, I spoke to the producer about paying for overtime. He said, "Oh, well we're not a union show so we don't pay overtime." In this case, I believe it was pure ignorance, but this is how crew gets taken advantage of. I went on to explain how overtime was calculated and he was very curious and interested. Had I been ignorant as well I could have thought, " Oh, that's right... I'm not union... so maybe I don't deserve to get paid overtime." The truth is, overtime is a California labor law.... it does not matter if you are union or not. If you have hours worked, you should be paid for it. Quick Links Here are the topics we are going to cover in this article Why is it important to know how to calculate your rate? How to calculate your hourly rate How to calculate overtime Let FreeMe do the work for you 1. Why is it important to know how to calculate your rate? Not all producers are bad, but there are some out there that if you give an inch, they'll take a mile. Part of their job is to keep costs low, but some producers just take it too far. I've worked with enough bad producers that I feel this article and information is important to share. The more knowledge you have, the less likely you will be taken advantage of. 2. How do I calculate my hourly rate? This math is based on California Labor Laws . Question: How do I calculate my hourly rate if I am quoted ____/10 hours? ____/12 hours? In the film industry we work on "guaranteed" hours which means despite if you work less than the quoted hours, you will be guaranteed typically 10 or 12 hours of pay. Travel or idle days can be 4 or 8 hours guarantee. NOTE: Some producers will quote you by the "day", such as $750/day. Make sure to clarify if you are on guaranteed 10s or 12s. Generally speaking here is the rule: Quoted a 12 hour day = divide rate by 14 Quoted 10 hour day = divide rate by 11 Weird right? Let's break it down. California Law says that the following: The first 8 hours should be the base hourly rate The 9th to 12th hour should be 1.5 times the hourly rate After 12 hours, it's 2 times the hourly rate. Make sure to check the California Department of Industrial Relations  for the latest laws regarding overtime. Here is the PDF  that you can reference. Note: Most recently, union contracts are implementing 3 times the hourly rate after 15 hours for the first five days of the work week. More details on the Basic Agreement and Video Tape Agreement in this article. BREAKDOWN OF 12 HOUR DAY So, with knowing the first 8 hours is at 1x the hourly and the last 4 hours are at 1.5x the hourly for a 12 hour day... this is how the breakdown works: 8 (1) + 4(1.5) = ? 8 + 6 = 14 So although you have 12 actual hours worked, you are going to bill for 14 hours due to the last four hours being your hourly rate multiplied by 1.5. EXAMPLE 1 So if your rate is 500/12, to get your hourly you divide 500/14 which equals $35.7143/hour. BREAKDOWN OF 10 HOUR DAY Let's apply this knowledge with a quoted 10 hours. 8 (1) + 2(1.5) = ? 8 + 3 = 11 EXAMPLE 2 So if your rate is 500/12, to get your hourly you divide 500/11 which equals $45.4545/hour. Mini Pop-Quiz! If your rate is 750/12 what is your hourly rate? If your rate is 350/10 what's your hourly rate? If your rate is 1000/12 what's your hourly rate: Answers: 1) $53.5714 2) $31.8181 3) $71.4286 3. How do I calculate overtime? EXAMPLE 3 If you worked a 14 hour day (with 30 of those minutes being lunch), how much overtime are you paid? Call: 6:00am Lunch: 12:00pm - 12:30pm Wrap: 8:30pm Your first 12 hours of labor will be 500, but after that you need to calculate two times your hourly rate. So let's go back to your hourly rate at 500/12 which is $35.7143. This is your breakdown: Hourly rate : $35.7143 1.5 x hourly: $53.5714 2 x hourly: $71.4286 3 x hourly: $107.1429 1. The first question is, how many hours did you work with subtracting your lunch hours? . 14 hours of work minus 30 minutes of lunch = 13.5 hours 2. How many hours extra did you do over your quoted rate of 500/12? 13.5 - 12 = 1.5 hrs 3. So now take that amount of hours and multiply it by your 2x hourly rate because after 12 hours its 2x. 1.5 x $71.4286 = $107.1429 4. $107.1429 is how much extra you are earning after your quoted 12 hours. If you want the gross wages, add the quoted daily rate. $107.1429 + $500 = $607.1429 NOTE: This scenario also has a meal penalty because from 12:30pm - 8:30pm without a break is 8.5 hours of work and you are supposed to break every 6 hours of work, just FYI. 4. Let FreeMe Calculate Everything For You Did you get the mini pop-quiz answers right? If you want a little more convenience, FreeMe calculates your hourly wages and overtime for you. Additionally, as you add jobs to FreeMe, it keeps track of your work history so you can refer back to it whenever you want. FreeMe also exports both invoices and timecards to help save you time when getting paid. Available on the App Store and Google Play . Have you ever encountered a situation where you weren't paid overtime? Do you have any other tools or resources that can help with calculating wages and managing your work history? What's worked best for you? Let us know by filling out our contact form . We love hearing from our readers! Disclaimer: FreeMe is not a legal firm and should not be relied on for legal advice; instead, all information, content, and materials available on this site are for general informational purposes only. Readers of this website should contact their attorney to obtain advice with respect to any particular legal matter.

  • 100 Essential Film Industry Terms Every Filmmaker Should Know (Part II)

    There are so many terms we use in the film industry. Here is Part II of our essential film industry terms every filmmaker should know. 51. Speed This is part of the cadence when the 1st AD asks to roll sound and camera. Sound will respond with, "Sound speeds" or "Rolling". When camera is asked to roll camera, the 1st AC will call out, "Speed". This term comes from the film days when the camera actually needed to get up to speed to reach 24 frames per second. 52. Beat A small, but unspecified amount of time. This can refer to performance, focus pulling, camera move, etc.   Ex. Director of Photography says to the Steadicam operator, “Can you stay on the TV a beat longer before you pan over to her reaction.” 53. Cheating This is to manipulate something to make it look better for the camera. This could be moving furniture, props, people or the camera. For example, two people could be standing in front of each other for a profile two shot. When you move into the over the shoulder, there are things that could cause problems making it less visually appealing. You can “cheat” someone by moving them around to create a better frame.   Ex. “Can we just cheat her over a couple steps to the right and get the window in the frame for more depth? 54. Crossing This is usually said to announce and warn others that you are going to be blocking the cameras view for a quick moment. Normally, you should try to avoid walking in front of the camera, but sometimes there are tight spaces and you can’t help it.   Ex. Camera Assistant says, “Crossing!” and passes in front of the camera. 55. Dirty vs clean Dirty refers to something in the foreground partially obscuring the frame. A clean frame is when nothing obscures the frame.   The Director of Photograph asks the Director, “Okay, for this over the shoulder do you want it to be dirty or clean?” The DP is asking the director if they want the shoulder in the frame, or just be on the other person without the shoulder in frame. 56. Do we die here This is asking if the last scene of the day will end here. 57. Flip the world This refers to moving the camera, lights, etc to the other side of the room to get the other side of coverage. Going back to a two shot, if you got coverage of one person talking, you need to “flip the world” to get the coverage of the other person talking.   Ex. “Okay, this is the last setup before we flip the world!" shouts the 1st AD. 58. Is that a buy? This is usually a term used in conversation with the DP if they are in the process of making a decision and decides on something.   Ex. The DP is using the viewfinder on the 85mm. She lowers it and looks at the set and contemplates. 1st AC asks, “Is that a buy?” The DP nods. 59. Lock off This means the camera is totally locked in the frame and should not be touched. Lock off’s happen if the creatives are making a choice to not move the camera, if they need to shoot a plate, or if VFX is involved. 60. New York/Chicago/Los Angeles I personally dislike using the cities to communicate the height of the apple box because I find it inefficient than saying shortest or highest. But for those who like to call things by unique names, here is the explanation. 3 - New York - tallest height for full apple box to stand2 - Chicago - medium height for full apple box to stand1 - Los Angeles - shortest height for full apple box to stand 61. NFG No f**king good. This is a term that is used when something breaks, you label it NG or for fun you can name it NFG. It’s usually a label for broken gear so it doesn’t go back into rotation. Ex. 1st AC hands battery to 2nd AC, "That's a bad battery. You can mark that NFG" 62. On/off DP’s will ask their lighting team to on/off lights to see what the light is doing or not doing.   Ex. “Hey, can you on/off the LiteMat?” 63. On the day This phrase refers to when it comes time to go, that will be the plan.   Ex. DP says, “On the day, we will move this desk out of the way so we can put camera here” 64. Go to bed This refers to an item that is done for the day.   Ex. “After this shot, the probe lens can go to bed. We don’t need it anymore.” 65. Just fell off the truck This is to communicate that the piece of gear just arrived on set but has not been given a final position.   Ex. 1st AC says to dolly grip, “Is this where our first shot is?” Dolly Grip responds, “Oh, I don’t know yet. This just fell off the truck.” 66. Wide f**king open (WFO) People just like adding F’s to things for fun. This means the aperture is at the widest opening which means the depth of field will be very narrow and a difficult focus pull for the focus puller.   Ex. 2nd AC asks 1st AC, “What’s the F-stop on this setup?” 1st AC grumbles, “WFO” 67. Woof A sound people make to communicate to stop at a certain point.   Ex. DP says, “Can you turn the intensity up on that light? Keep going… keep going… okay, woof.” 68. Coffin This refers a bin that stores the pre-built camera with accessories so it does not have to be broken down at the end of every shoot day to help save time.   Ex. “Is the coffin on the camera truck?” 69. Eye mark Usually a piece of tape for the actor or subject to use so the eyeline looks good for camera and continuity.   Ex. 1st AD says, “Can we get an eye mark for our actress?” 70. Mark Mark can be used in a lot of different scenarios. For the most part, it is usually referring to using tape or T-marks on the ground for an actor to know where they need to stand. Marks can also refer to getting points of distance for the focus puller. If it’s a difficult focus pull sometimes the 1st AC will ask for marks. You can also mark the ground for dolly moves or where furniture was if you need to move it back.   Ex. "Can we get a mark for our actor?" 71. Get sharps This is a phrase usually used exclusively for the 1st AC. They may be busy or not by their station and the camera moves without their knowing… so they may be out of focus.   Ex. DP says to 1st AC, “Hey, can we get sharps?” 72. Go deep This is another phrase exclusive for the focus puller. Sometimes the depth of field is so narrow, you don’t see what’s going on in the background, but sometimes people need to see back there while everyone is setting up.   Ex. DP asks the 1st AC, “Hey, can you go deep so we can see if the ladder is in the shot?” 73. Hold the roll This means to NOT roll. Since we have transitioned from film to digital, some people have confused using this phrase to mean “keep speeding” which is not the case. This means to DO NOTHING.   Ex. 1st AD says, “Roll cam—wait, wait. We can see the mic pack, let’s hold the roll.” 74. MOS There’s debate where MOS originated from, but essentially it is a take without sound. There are different procedures for a take that is MOS. Sound does not have to roll and the slate is slated differently.   Ex. 2nd Assistant Camera asks, “Is this going to MOS?” 75. Punch in This refers to moving the camera closer to get a tighter shot size. It can also refer to digital punch ins.   Ex. “Let’s get this two shot and we’ll punch in for the close” 76. Spraying This is what the stylists (or sometimes make-up) will normally announce out loud if they are in front of the camera with the actor and need to use a spray. It’s a courtesy announcement to let camera team know that particles will be in the air that could potentially get on the lens. Camera team will either point the camera away, stand in front of the camera, or put the eyebrow down to cover the lens.   Ex. Hair stylist calls out, “Spraying!” 77. Sticks This term is on here because for newer people, when I have said sticks, they look at me confused. Sticks are essentially a tripod, but beefier. Sticks typically refer to the O’Connor Standard Sticks or O’Connor Baby Sticks.   Ex. DP says to 1st AC, “Can we get baby sticks?” 78. Swinging the lens This refers to changing the lens.   Ex. 1st AD says, “How long is that going to take?” DP responds, “We just need to swing a lens and we’re good.” 79. Feather This refers to a movement and typically is relevant to camera moves. Feathering means to end or begin the move softly so it’s smooth and not abrupt. This can also be true for moves on the dolly moves, dana dolly, steadicam, etc.   Ex. DP says to the Dolly Grip, “On this next one, let’s feather into the boom.” 80. Bounce This refers to a technique of reflecting light off a surface. There are a few reasons you would want to bounce light. If you want the quality of light to be different, if you need some extra fill light, or if you want a little eye light you can bounce it into the eye.   Ex. DP says, “Hey can we get a bounce to fill some of the shadows under his eyes?” 81. Clipping If an image is clipping it means the highlights/blacks are no longer within the dynamic range and will register as pure white or pure black. This can be a problem because if you are coloring, those areas that are clipping will not adjust within the image because it did not capture any information since it exceeded the dynamic range.   Ex. “The sky is clipping, let's add some ND.” 82. Hot/Spicy This term is usually more for discussion about the exposure being too bright.   Ex. The DP says to the gaffer, “The splash on the background is just a little too spicy” 83. Dance Floor This refers to 4 x 8 masonite that is used on uneven ground so the dolly can move around freely with no track. Ex. “Do we have time to set up the dolly on track or should we just use dance floor?” 84. Dolly In/Dolly Out Dolly in refers to the camera moving forward (can also be dolly forward) and dolly out refers to the camera moving backward (can also be dolly back). Push in and pull out are words use to mean the same thing. Using the word "dolly" can be more understood to mean a smooth move pushing in or a smooth move pulling out in comparison to pushing in with handheld.   Ex. “Once her date gets up from the table, let’s dolly in from a two shot into a close up” 85. Truck Left, Right, Forward, Back This is also a direction for communication. The language is used as if you were the perspective of the object. Truck usually refers to the dolly and the perspective is typically based on the camera.   Ex. “Let's truck forward 10 feet.” 86. Lamp left/right Another way to communicate is to say “lamp right” or “lamp left” which is still referring to the perspective of the object. The orientation is determined by the direction the lamp is pointed. Ex. “Walk the unit lamp right 3 feet” 87. Pan & Tilt There is a difference. People make fun of directors for not knowing the different axis. Pan is left and right. Tilt is moving up or down. You can use these terms for lights as well. Ex. “Let’s pan right a little on the HMI." 88. On axis This is another term used for communication. When someone says “on axis” they mean if you were to make an imaginary a line from the object to where it is pointing, that is the axis people are referring to. This can be for camera, lighting or grip gear. Sometimes can also be used on regular objects if the context is right.   Ex. “Can you push the camera in on axis about two feet?” 89. Single (1/2 stop) To put it simply, when working in camera, lighting, or grip, we are constantly working together to manipulate the light to be captured a specific way. This can be done with manipulating actual light as well as considering what camera settings to use. Stops are a big part of this process. I won’t go into what stops are, but in G&E you may hear the word “single”. A single refers to a scrim or net designed to cut the output of a lamp by 1/2 of a stop. They can come in various sizes and usually have a green edge. Some items are: single scrim, 2x3 single net, 4x4 single net, 8x8 single net. Verbally these things would be said with a short hand. Ex. "Can we get a four by single in front of the 4k, an eight by double outside the window and drop a single in the tweenie" 90. Double (1 stop) This is the same idea as a single, but a double cuts the output of a lamp by 1 stop/a full stop of light and has red edges. Some items are: a double scrim, 2x3 double net, 4x4 double net, or 8x8 double net (all marked in red lining) and that will cut the light a full stop. Ex. "Let's drop a double on the key light" 91. Duvy Duvy is short for duvetyne. It is a black cloth used to block or absorb light. You can use it to hide reflections, black out windows, or even a last minute shoulder pad for the camera operator. Ex. "Do we have any scrap duvy to make a should pad?" 92. Furn-y Furn-y is short for furniture blanket. It has multiple uses. Furniture blankets can be set on the floor to protect locations that have wood floors, can be rigged up to absorb sound so it’s less echoey, can be used as padding for camera coffins, used to protect leather on a car, or it can be used to be rolled up into a burrito for the camera operator. Ex. “Hey can we get a few furnies flown in for the car seats?” 93. Hollywood A term used to describe a person holding something during a take. More often than not, this refers to a last minute method when there is no luxury of time allowed. Other times it’s because it’s a moving shot and it is not possible to set a stand up to hold the grip or light item up. Ex. The DP asks for bounce and the grip holds it up to audition for the DP and he likes it. Time is running out and the AD wants everyone to start rolling. DP asks the grip, “Can you just Hollywood it? It’s just this one take.” The grip obliges. 94. Shake up When working outside, G&E may be using shiny or mirror boards to bounce the sunlight into where we are shooting. Because the sun moves, the angle of the board will have to also move once in awhile for consistency. If it isn't already done, the DP may ask for the board to be repositioned so the light can bounce into the scene. Ex. "Can we shake up the shiny?" 95. Stinger In the regular world, a lot of people would call it an extension cable. Stingers typically come in 25’, 50’, or 100’ in length. Stingers typically have a heavier gauge wire than a regular extension cable you would buy from Home Depot. Ex. “Hey, can we get a stinger to crafty?” 96. Striking You would should “striking” as a courtesy warning to anyone around to let them know to not look into the light. Striking can also refer to taking something down Ex. "Striking, watch your eyes!" 97. Splashing This is a term called out as a courtesy warning to anyone below that something is dropping and to watch out from above. This can happen on location when someone is on the second level needing to have a cable out the window or from the stairs, or on location when lights are rigged up high. 98. Waste When the DP asks to waste the light, they are asking you to turn the light away so they can use less of it. You are literally wasting the photons by having the light on, but only utilizing a portion of it.     Ex. “Can you waste the 2k off?” 99. Greeking This means to hide or manipulate a logo to avoid infringing on copyright or trademark laws.  Ex. “I think I can see the logo on the bottle. Let’s make sure to Greek that before we go.” 100. Room Tone Room tone is very important for post work. It is the base sound layer in case post needs to do ADR or manipulate some of the sound. Without room tone, it gets difficult to hide things in post. All room tone is unique for each room. This is because the presence of people, lights, and furniture make sound bounce around differently. If you do room tone after everyone leaves, it will not be a good base layer for post and will sound different. This is why room tone needs to be done right after the scene is over and why everyone needs to stay for it. Sound will ask for room tone and everyone will awkwardly stand around trying to not make creaky chair noises or cough for 1 minute. We did it! Made it through all 100 terms. There is so much unique lingo in the film industry and as you continue to work more often, it won't feel so daunting. Stay organized with FreeMe! As you familiarize yourself with the essential lingo, don’t forget that communication is just one part of staying on top of things. Tracking information and keeping up with your work schedule can feel just as overwhelming as learning the language of film. That’s where FreeMe comes in. Our app helps streamline these tasks, so you can focus on honing your skills and becoming a more efficient crew member. Whether you're just starting out or well into your career, FreeMe keeps the admin work simple, so you can spend more time doing what you love on set.

  • 100 Essential Film Industry Terms Every Filmmaker Should Know (Part I)

    Don’t let others know you're green when you can’t understand all the film lingo crew spews out on set. Don't worry - set lingo will become so second nature where you will accidentally start using it with family and they’ll look at you utterly confused. My mom loves using “dummy check” every time we’re on vacation now. As I was writing a list of terms, I came up with over 200! I decided to narrow it down to terms that I think are important for communication and ones you may hear crew using with each other. I also broke it into two articles so it's not overwhelming. Equipment, gear, and crew positions have a lot of unique names and I have left them off for the most part except ones I believe to be essential. Subscribe for when we release the master glossary! 1. 10-1 Taking a quick restroom break Ex. "I'll be right back, I'm 10-1" 2. 10-2 Taking a "longer" restroom break 3. Going off walkie A phrase someone says to let you know they are turning off their walkie or pulling their ear piece out and will not be available 4. Flying in This phrase is equivalent to saying something is on it's wa y. This can refer to people or objects. Ex. "First Team Flying in" or someone can ask for a C-stand and you walkie back, "Flying in" 5. C-Stand Looks like this and has multiple uses. They're typically seen holding flags or diffusion to shape light, but you'll find they are pretty versatile stands. 6. 86 To cancel what was previously requested. People have argued this is a restaurant term but you will hear this being used on set. 7. Abby Singer Second to last setup of the day 8. Martini Last setup of the day 9. Audible When a plan is changed on short notice. Ex. "We're calling an audible" 10. Audition To try out. Ex. "Let's audition the striped shirt under this lighting." 11. Blocking rehearsal This is when the director works with their actors to establish where they will be standing and moving throughout the scene 12. Marking rehearsal This is for the actors to show how they move around the scene and gives the 2nd AC a chance to mark the actors positions for lighting purposes 13. Second team Second team are stand-ins usually called in after marking rehearsal. They stand in on those marks so the Director of Photography can have them as a reference as they light the actors. Marks are also useful for the focus puller. 14. First team Primary/principle actors of the scene 15. Stand in Title of the person who literally stands in for first team for lighting purposes. Some jobs will not have a stand in and sometimes the 1st AD or a nice crew member will stand in for the DP temporarily. Ex. DP says to 1st AD, "Do you think we can get someone to stand in for a second?" 16. Company move Entire crew and company move to a different location before the shoot day is over. You would not call it a company move if tomorrow's location is different from todays. Ex. "We have two company moves today?!" 17. Day play/day player A day player is someone who is not part of the main crew, but comes in now and again on days when additional crew is required, or a regular crew member is not available. If the B-camera operator could not be there for Day 17, a day player would come in place of them. Ex. "I just day played on a show for 3 days." 18. Dummy check The process of taking a quick walk through of the location to see if anything was left behind 19. AKS All Kinds of Stuff. Many camera assistants have an AKS case that has all kinds of knick knacks and accessories thrown in 20. Eyes on A phrase to ask if anyone has seen a person or item. Ex. "Anyone have eyes on the Director?" 21. Fire watch To stand guard and keep an eye on trucks and equipment to make sure nothing gets stolen. Ex. 1st AD says to PA, "Can you take lunch early so when we break you can firewatch the truck?" 22. Fraturday A concept that came to fruition due to crew having late start work times on Fridays which in turn, seeped into their Saturday morning. 23. Green Refers to a person who is very new to working in the film industry. They're green because they have not ripened yet Ex. "Steve is a little green, but he is a faster learner and has a great attitude." 24. Greens Very different from "green". Greens with an "s" is referring to the crew members who take care of the plants on bigger budget productions 25. Hot brick This refers to a fully charged walkie battery Ex. "Do you know where I can get a hot brick? Mine is dying." 26. Hot set This is to communicate that the set is live and should not be touched in case you mess something up with continuity Ex. 1st AD says, "This is a hot set. Do not leave your drinks on the counters please." 27. Indie film A movie that is produced outside of the major film studio system, typically made without the financial backing of a major production company 28. Kill it To get rid of Ex. "Let's kill the 2k, it's not working." 29. Last looks A call from the 1st AD to give vanity (make-up, hair, costumes) a moment to check the actors before we roll. 30. Stage A temporary storage location for equipment and props. Ex. "Do you know where camera will be staging? Can we stage G&E here?" 31. Moments away A phrase a 1st AD would say to essentially mean we are very close to rolling the camera 32. On the move This term is self explanatory but it more is to notify people out loud as a warning that big expensive and/or heavy items are moving around. This can also be "Camera moves!" or "Dolly moves!"   Ex. “Camera on the move” or “Dolly on the move” 33. Peel A term that means it was difficult.   Ex. "I was on a music video last week and we got peeled." 34. Points A warning call to say that something that can poke your eye out is right around the corner. Ex. "Points! Points coming through", says the grip carrying a c-stand as he enters the house 35. Repo Short for “reposition”.   Ex. "Can we repo the lamp so it’s not in the shot?" 36. Reset To reset any number of things on set; cameras, actors, lights, etc. It can also mean to reset the entire move for that take. You might hear this more often when it's a difficult gag or when the team wants to repeat the move without cutting the roll.   Ex. 1st Assistant Director shouts, “Okay, lets reset, back to one. Dolly… and action.” 37. Shuttle A shuttle is a sprinter or mini-van that takes crew from crew parking to base camp. Typically the call sheet or e-mail will mention if there is a shuttle. If so, make sure to budget some time to get on the shuttle to make your call time. 38. Standby A term to ask someone to wait.   Ex. Camera Assistant asks Director of Photography, “Did you say you wanted N.D. 3 or 6?” DP looks at the light and has a thinking face. She says, “Standby.” 39. Turnaround This refers to the amount of time you are called off work and back on set. Typically you should be getting a minimum 10 hour turnaround. If your turnaround is invaded, you should be getting additional pay for those invaded hours.   Ex. “Yesterday’s  turnaround was only 8 hours, so I only got 5 hours of sleep” 40. Video village/Client Village Client village is for clients, video village is for director/director of photography.   Ex. “Hey, do you know where video village is?” 41. Walkway A term to mean at the end of the day the production will not be wrapping out of the location. You will turn everything off, put away everything in a safe spot, and literally walk away. There is no need to pack up anything to the trucks.   Ex. "We’re at this location for 3 days so tomorrow is going to be walkaway." 42. What’s your 20 This is to ask where someone’s location is.   Ex. “Hey, I’ve got a hot brick for you, what’s your 20?” 43. Wheels up This usually refers to a time when production wants to be ready to be rolling out. This term is more frequent in travel jobs where production is taking you to locations. It can also be used for when trucks should be rolling out at end of day.   Ex. “We want to be wheels up at 8:00am sharp.” 44. Bump take This refers to when the camera accidentally gets rolled on and cut.   Ex. Script supervisor says to camera assistant, “Was that a bump take just now?” 45. Rate bump A rate bump happens when you get promoted in your position, which will also give you a promotion in your rate.   Ex. “Yesterday the camera operator got sick, so I got a rate bump from 1st AC to cam op.” 46. Dolly bump This is when the dolly runs out of air and needs to be charged back up to operate the boom.   Ex. Dolly Grip says to Electric, “Can I get a dolly bump?” 47. Bump the slate This refers to doing a bump take, but with the slate in it. This is frequent for jobs where they like to do a series of shots and only want to do a few frames of the slate before rolling as they please. This also is frequent for high speed shooting. Instead of having a slate in frame and pulled out, you can do a quick roll and cut on the slate and have a bump slate rather to save time.   Ex. 1st Assistant Camera says to the 2nd Assistant Camera, “Let’s go ahead and bump the slate.” 48. Playing This refers to if something is actively working. This can mean a camera, a gag, or a light.   Ex. 1st AC says, “Is B camera playing on this one?” Camera Operator says, “No, I think we don’t play until 5” 49. 50/50 Not sure where this term came from, but it means the director and DP want to start rolling the camera secretly without the actors or the subject knowing. They do this to capture more authentic performances sometimes.   Ex. Director of Photography says to the 1st AC, “Psst. 50/50” the 1st AC rolls the camera. 50. Adults/grown ups This is a fun way to describe the people who make the decisions. This refers to mostly people who are above the line.   Ex. Crew member says, “Do you know if we’re moving on or doing another?” Another one response, “Not sure, the grown ups are still talking.” Mastering film lingo can feel overwhelming at first, but the more time you spend on set, the more these terms will become second nature. Keep this list handy and don’t forget—no one knows it all right away. You’ll be surprised at how quickly you’ll find yourself using these terms like a pro. Be sure to subscribe to get updates for even more tips and resources to help you thrive in the industry. Which terms in this list were new to you, and which ones have you already encountered on set? Are there any terms you feel are missing that you'd like to learn more about? What other areas of the film industry would you like to see covered in future articles? Stay organized with FreeMe! As you familiarize yourself with the essential lingo, don’t forget that communication is just one part of staying on top of things. Tracking information and keeping up with your work schedule can feel just as overwhelming as learning the language of film. That’s where FreeMe comes in. Our app helps streamline these tasks, so you can focus on honing your skills and becoming a more efficient crew member. Whether you're just starting out or well into your career, FreeMe keeps the admin work simple, so you can spend more time doing what you love on set.

  • Camera Assistant Tool Guide: Level IV - Rental Gear

    Renting out equipment to production is a good way to earn revenue on top of your labor. As a camera assistant, one of the first things you will be renting out to production is your camera kit or sometimes called a box kit. As mention in our previous articles, these can encompass a number of tools: Camera Assistant Tool Guide: Level I - Starter Kit Camera Assistant Tool Guide: Level II - Leveling Up Camera Assistant Tool Guide: Level III - Tools to Make Life Easier Kit Fees Before production starts, discuss with the producer what the kit fee is. There are a variety of ways to ask, "What's the budget for a kit fee?" "What's the kit fee?" or you can even say, "I typically get $75 for my kit fee, does that work?" I have seen kit fees range from $25 - $100 and sometimes it depends on what you are bringing and their budget. Make sure to create an excel or google sheet with a list of everything that is in your kit. Producers will sometimes ask for an inventory list to attach to the box kit rental. This also shows how much value your kit has because sometimes producers will assume it's just a leather man and some tape which they don't see of much value. Here is a free excel sheet that has formulas in which you can export a nice layout of your inventory with all totals. Adjust the master list Make sure to label the category so it filters to the other page Select the cells you want to print, hit print, and make sure settings will be printing "selected cells" Cart A camera cart will likely be one of the first large items you will invest in. It can cost $2,000 - $12,000+ depending on how decked out you want your cart to be. BUT there are ways to buy used carts before you dive into buying a brand new one. If you are patient, there will be a camera assistant selling their cart. They could be moving on up, leaving the industry, or maybe they found a nicer cart and are getting rid of their older one. Here is a popular facebook group: For Sale: Camera Assistant AKS & More!  There is also a Los Angeles Young Workers Group  that has bi-annual camera yard sales. Which cart to get will be dependent on how much you're willing to spend and how you like to work. Here are a couple of options that are popular: Backstage Magliner The junior magliner is a great cart if you happen to have a smaller car that would not fit the senior. The negative thing is when you are on set, sometimes you want a larger cart to carry more items. The senior magliner is the cart I have and I love it. Plenty of other AC's opt for beefier carts, but the reason why I love this one is because I primarily work in commercials. I constantly break down and build my cart up, so being able to break down and build up quickly is important for me. I remember I was on a two day commercial and hired B & C camera AC's and both had Yaeger's. I was ready to drive off while they still were packing up. If I worked more in TV maybe I would consider upgrading to a beefier cart. The Yaegear is also a great cart. YaegerPro Cart YaeagerPro - link here Yaegers are great for long TV shows and are pretty sturdy. If you get the older ones those are very sturdy. The newer ones are more customizable. Inovativ Cart Inovativ - link here Inovativ is very customizable. I mostly see DIT's and steadicam with these carts. These are the most expensive carts, so if you are starting out I would recommend buying a used one. It is possible to find a used Inovativ cart! Alternative Options Collapsible cart - I have seen this used by 2nd AC for a quick battery cart for short term jobs. For long term jobs, you typically would have a dedicated cart for batteries. Once you hone in on the type of cart you like, you can add accessories like a mitchell mount, ronford-baker quick release , tripod holder, trough, hi-hat holder, etc. You may even want to get extra fancy and get a motorized wheel for those tough uphill pushes. Monitor SmallHD 1303 is the most popular 13" monitor that I see amongst 1st Assistant Cameras. There is a also a newer Cine 13" 4k High-bright Monitor . If you want to invest, but you don't have that much money, you can also opt for a 7" monitor or 5" monitor. I have seen camera assistants use the 5" rigged on top of their wireless follow focus unit if they have to be more mobile. SmallHD is not the only brand for monitors, but it is the most common one I see for camera assistants. Another great feature of SmallHD's is that they work well with battling the brightness of being outside. Before, you had to always use a hoodman. Though, I would not recommend the older 702 SmallHD because that does not have enough brightness for outside and the joystick always breaks. Follow Focus Wireless follow focus is another great tool to invest in. The Tilta Nucleus-M is an affordable wireless follow focus unit. It gets the job done and is quite reliable, in my experience. There are a few features on the more expensive wireless follow focus that add a lot of convenience factors, such as no need to power up the motor, pre-marked focus rings, and digital readouts. Preston and Arri wireless follow focus units are some of the more expensive ones, but also popular. Preston also has the Light Ranger that is a favorite amongst camera assistants as an additional tool (another item that you could invest in if you wanted to) Additional Items As you can see there are many things you can buy and invest renting out. This article is not to discuss the pros and cons of each tool but more to give you an idea what options are out there. It probably is best to continue working in the field, try these items out, and learn which you prefer before making a big purchase. The list of items you can rent out is exhaustive and you can build up your inventory as you grow. It really can expand out to a complete camera package if you really wanted. Wireless video - Teradek, Vaxis, Paralinx, Hollyland, DJI, etc Range finders - Cinetape, Lightranger, etc Wireless Intercom - Hollyland, Eartec, etc 17" monitors - SmallHD, Flanders, etc 7" monitors - SmallHD, Atomos, etc Batteries - gold mount is more popular, but you could get v-mount as well Walkies Dana Dolly Lenses Tango Head Single Channel Wireless Focus/Iris Mattebox Easyrig Ergorig GoPros Camera Really you can go wild. It just depends how much money you have and are willing to spend. Before you do, make sure you do your homework and talk to others about what gear is most beneficial to invest in. You may find out a piece of gear does not have a good return of investment. How do I go about renting out my gear? Before the job starts, talk to the producer or DP and let them know you have gear that you want to add on. At this point you can talk about your rates for your gear and if they can pay you directly. If there is a quote already established from a camera house, you can sub-rent your gear in place of what they will rent from the camera house or add your gear on if it's not already on the quote. Otherwise, if this is a last minute job or a very low budget one, you may run into a situation where it's difficult to change the quote or add your gear. Stay flexible and have good communication with both the producer and camera houses. As you do this more frequently you'll feel the flow and understand at what point you can ask for your gear to be rented. Before renting out gear, you should understand there are two ways to go about getting paid for your gear. You can be paid directly by the producer or get paid by the camera house. If your gear goes through the camera house, it's called sub-renting. This means the gear they are renting out is not owned by them and are outsourcing the gear. If the camera house is sub-renting your gear, the production will pay the camera house in bulk for everything, the camera house takes a % of your sub-rental, and then the camera house is the one that will pay you for your portion. Some camera houses prefer you go through them, so talk to both the producer and camera house on how they would like to handle this. Some camera houses prefer you handle payment directly with production. Production will take it off the quote and pay you through a box kit rental. If this is the case, make sure you ask for a COI so your equipment is insured. In regards to how much you should charge, I typically match the camera house prices if they have discounts and the quote is already out. If you want to have an idea of what you could be renting your items for, you could check out https://www.sharegrid.com/ and see what these items are going out for individually as well as asking for advice on forums. What items are you on your list to invest in next and why? Are you more inclined to buy used or new items? What tips would you share with other camera assistants who are starting to build up their inventory? We love hearing from our readers - let us know your thoughts by filling out our contact form . Keep track of kit fees with FreeMe! As you continue to build your inventory and navigate the complexities of renting out gear, staying organized and on top of administrative tasks becomes crucial. FreeMe is designed to simplify essential tasks like adding your kit fees and creating invoices, helping you stay focused on your work rather than getting bogged down by paperwork. With FreeMe, you can streamline your workflow and maximize your efficiency on set.

  • Camera Assistant Tool Guide: Level II - Leveling Up

    As you start working more, you'll find there are tools that can make your job easier and begin to develop preferences. The following list are items that I found that enhanced my craft as a camera assistant as I started growing. Please keep in mind that I have most of my experience as a focus puller/1st assistant camera. A person pursuing a 2nd Assistant Camera may have a different list on what would be a "level up" list. I will make sure to make a note of what I believe to be a tool that may be exclusive to a 1st AC or 2nd AC. Next week's article will focus on items that make life easier, but may not be totally necessary when starting out. If you're able to afford the starter kit + leveling up + tools to make life easier , that's great! All the lists are separated with the consideration of a camera assistant slowly building their kit on a budget. Leveling Up: Expendables Cost Item Purpose Link $7.64 Paper tape - 1" hot pink Marking ground, actors, mag tags, etc. I like to use my hot pink to label dead cases that I don't need for the run of the show and keep the in the back of the truck https://www.filmtools.com/protapes-1-console-tape-7-colors-1-x-180-feet.html $7.16 Paper tape - 3/4" white This is the perfect size for follow focus rings (single channel Preston & Nucleus). If you are on a lower budget job you may not be able to get the fancier follow focus units. https://www.filmtools.com/3-4-x60-white-consol-tape.html $8.25 Gaff tape - 1/2" pink I cut triangles and use them as my marks on my follow focus rings NOTE: This could be exclusive tool to a 1st, but a 2nd should have this if they work with 1st AC's who like to also do this. https://www.filmtools.com/4930-etc-1-2-pro-gaff-cloth-spike-tape-aka-gaffer-tape-10-standard-colors-1-2-x-50-yard-roll.html $21.24 Photoblack tape (2" x 30 yards) This is a special tape that does not reflect light. You can use it if your camera is reflecting lights of a surface or if there is a C stand that you want to hide. Get the 2" x 30 yards specifically... it will be less bulky on your tape lanyard https://www.filmtools.com/small-core-photo-black-tape.html $8.71 AA batteries (20 pack) If you have anything that needs AA batteries https://www.amazon.com/AmazonBasics-Performance-Alkaline-Batteries-20-Pack/dp/B00NTCH52W $13.67 AAA batteries (16 pack) I use for my headlamp & laser tape https://www.amazon.com/Amazon-Basics-AAA-High-Performance-36/dp/B00LH3DMUO/ $8.67 Staedtler pen (set of 4) Used to mark follow focus disc or follow focus hand unit (Honestly I use my pink triangles more, but up to you if you like using a pen to mark your marks. Most wireless units have digital marks too but I don't like those) NOTE: A 2nd AC does not need these pens unless they want to provide them to their 1st AC https://www.filmtools.com/staedtler-non-permanent-lumocolor-marker-set-fine-point-tip-316-wp4-a6.html $1.20 Slate marker eraser So you don't have to erase the slate with your fingers https://www.filmtools.com/expendables/marking-writing-utensils/pensandmarkers/kleenslate-eraser-for-dry-erase-markers.html $0.25 Chalk Chalk is good for marks outside on the ground https://www.filmtools.com/dixon-rail-road-chalk.html $8.98 Electric tape This is for marking cameras for organizational purposes. It's so accessories don't get mixed up with each other. Starting out you'll probably work with one camera at a time. If you have more than one camera, you can mark the camera and all it's accessories with RED tape. Second camera can be BLUE. Third camera I mark as YELLOW. People have debated that C camera should be green. I also have fun colors like orange, purple, pink, but that's not necessary at the growing stage https://www.homedepot.com/p/Commercial-Electric-1-2-in-x-20-ft-Electric-Tape-Multi-Color-6-Pack-30005336/206874157 $25 P-Touch Tape This the tape that goes inside a label maker. It is so you can make your slate look professional with clean labels. https://www.filmtools.com/brot1ptouctz-1679.html The total for these additional useful expendables is approximately $110.00. Remember to ask your producer what the expendables budget is so you do not have to purchase these items for a job. Useful Tools: Long-term Tools Cost Item Purpose Link $1775 Camera Cart If you are seriously considering a career as an AC, you need a camera cart. This is a HUGE purchase. Please keep in mind that people are always selling their used cart on Facebook and camera sale events. If you are starting out, I would highly recommend finding a used cart. More information on rental items will be in our next article https://www.filmtools.com/backstage-magliner-senior-modified-cart.html $11.98 Walkie earpiece These will change your life on set!! It allows you to hear from both ears and does not plug up your ear or hurt it like the basic ones do. These are cheap and you can just swap out with the ones you receive on set and swap it back to return. https://www.amazon.com/dp/B079DJZT1J/ $89.98 Rolling husky I have a rolling husky currently that has all my extra items I don't primarily use. Starting out I had this + my run bag. Some AC's like having a canvas bag and throwing all their extra things in there. I like the rolling bag because I can put my 1510 pelican on top and use wheels to get around. Why carry things when you can wheel them? The 1510 is not a part of this list, but is a part of the next article "Tools to Make Life Easier" https://www.homedepot.com/p/Husky-14-in-13-Pocket-Rolling-Tool-Bag-HD65014-TH/312554687 $15.43 Lanyard for tape As 1st AC I like to have my 1" red paper, 3/4" white, 1/2" pink gaff, 2" photoblack on my lanyard. As a 2nd you should have 1" paper of an assortment of colors on your lanyard. Different colors are typically assigned to different actors. https://www.filmtools.com/lindcraft-24-gaffer-tape-lanyard-g59-medium.html $11.99 Torx or Star Allen Wrench Set I RARELY use these. If you're finding yourself in enough situations where you need them or have some money to spend, you should add these to your kit. https://www.amazon.com/DISEN-Torx-Allen-Set-Key/dp/B09NRBH6LC/ $14.99 Eyeglass repair kit This kit is great for the moments you have to unscrew very small screws https://www.amazon.com/MulWark-Precision-Screwdriver-Eyeglasses-Electronics/dp/B01MFER4XH $8.99 Microfiber glass cleaning cloth I have a microfiber keychain that is from Panavision. I cannot find a link, but here is an equivalent Amazon link https://www.amazon.com/dp/B08DP35JZL/ref=sspa_dk_hqp_detail_aax_0?psc=1&sp_csd=d2lkZ2V0TmFtZT1zcF9ocXBfc2hhcmVk $10.25 Insert slate For those insert shots where a normal size slate would be annoying to use https://www.filmtools.com/sb-is.html $4.39 Cube tap Because you never know when you need one. This is useful for when you have a monitor and teradek and need to AC power it all. https://www.amazon.com/Listed-Cable-Matters-Adapter-Splitter/dp/B09S822YXN/ $22.97 C-wrench I did not put this on the Starter Kit because I don't think it's essential. I do use my C-wrench from time to time to loosen things, but not very often. It is handy when you need it. The link is from Home Depot, but you can probably find a cheaper option. https://www.homedepot.com/p/Crescent-12-in-Chrome-Adjustable-Wrench-AC212VS/203161636 $0.74 Small camera wedges Useful to level the camera, especially when you are on a hi hat or low hat https://www.filmtools.com/camwedsix35e.html $6.29 1st AC pouch I love this pouch. As 1st AC, I try to hold as little as possible. I have my phone, permanent marker, pen, scissors, flashlight and leatherman in here NOTE: A 2nd AC may want a different kind of pouch to hold more items. Check out our Starter Kit article that lists different kinds https://www.amazon.com/gp/product/B0000DYVCX/ref=ppx_yo_dt_b_asin_title_o04_s00?ie=UTF8&psc=1 $6.88 3/8 to 1/4-20 screw adaptor For some reason this specifically has been useful for me for many situations https://www.bhphotovideo.com/c/product/546532-REG/Manfrotto_015_015_Female_3_8_to.html/ $18.75 T Marks The purpose of T-Marks are similar to the tape marks. These marks are for situations such as outside or in the grass. This is the CHEAP way to create T marks if you are on a budget! Home Depot has steel T's that you can just cover with your paper tape. As a 2nd, you should probably stock yourself with T marks. It's okay to create cheap T marks if you cannot afford the fancier ones. Currently you can get a pack of 6 T's for $18.75 and DIY it at Home Depot, or buy ONE T mark for $11.00. If you are just beginning, I recommend DIY'ing it. As you grow, you can buy fancy ones later. I've provided links to both cheap T's and fancy T's https://www.homedepot.com/p/Everbilt-5-in-x-5-in-Zinc-Plated-T-Plate-15068/202034097 https://www.filmtools.com/catalog/product/view/id/25429/s/cge-tools-industry-mark-t-red/ $75.44 Laser measure tape This is to measure the distance from the sensor to the camera. Measuring distances is part of a 1st AC's job to be able to pull focus. I specifically have the Hilti PD-42 so I can have a hole to see the laser in daylight, but this is a good starter option NOTE: A 2nd AC does not necessarily need a laser measuring tape, but they do need some kind of tool to measure for multiple purposes. https://www.amazon.com/Bosch-Distance-Measure-165-Feet-GLM165-40/dp/B076C3TB8P/ $19.35 Soft Measuring Tape This is if you don't want to use a laser and do it the old school way of taking a soft tape to measure from the sensor to the subject. This sometimes takes two people to do and some people may be annoyed seeing you do this. This is why I resort to the laser so I can quietly make measurements without bothering anyone. When measuring from the sensor to actors eyes, use a soft tape and not a hard one. https://www.filmtools.com/kes50fibtapm.html $89.99 P-Touch This is a label maker. There are other kinds of label makers, but just make sure you get one that can print 1" https://www.amazon.com/Brother-PT-P710BT-Versatile-Bluetooth-Technology/dp/B07HB8LNSY $22.50 1030 Pelican I use this small case to store media sometimes https://www.filmtools.com/pelican-1030-micro-case-blue.html $22.99 Space Blanket People use space blankets as a camera cover. It is the less expensive option. https://www.amazon.com/dp/B0CFD3DTDT/ Assortment of Cable Ties There are a variety you can purchase if you do not want to use bongo ties for cable management. It helps make your camera build look more professional and clean https://www.homedepot.com/p/Nite-Ize-6-in-Black-Gear-Tie-Pro-Pack-6-Untis-GTPP6-01-6R8/313478927 https://www.metcalfnoodles.com/ Total for these tools are approximately $460.00 + $1775 (camera cart) Terminology Single channel Preston : A wireless follow focus system that has one channel. Preston is one company that sells them. They also offer a three-channel wireless system to be able to control three channels (focus, iris, and zoom). There are other companies that sell single-channel and three-channel systems. Nucleus : A wireless follow focus system that is more affordable than other brands. I know of many 1st AC's that have nucleus's to rent out and eventually graduate to a different follow focus system If you have all these items and are looking for a more advanced list, subscribe to be updated when we release these articles: Camera Assistant Tool Guide: Level III - Tools to Make Life Easier Camera Assistant Tool Guide: Level IV - Rental Items What are some of your go-to tools as a camera assistant? Which tools would you feel lost without? Are there any items you think should be added to this list? Let us know by filling out our contact form . We'd love to hear from you! Simplify Your Journey with FreeMe! As an up and coming camera assistant, navigating the tools PLUS the complexities of overtime rules, meal penalties, filling out timecards and creating invoices can be overwhelming. FreeMe is the perfect app for newcomers, offering intuitive tools that simplify these tasks. Streamline your workflow, stay organized, and focus on honing your craft by letting FreeMe do the administrative work for you.

  • Summary of 2024 Tentative Agreement

    Don't forget voting opens July 14, 2024! This is a summary of the 2024 tentative basic agreement. If you would prefer to watch or listen, we have a YouTube video of the summary. Table of Contents: Terms & Wages Overtime Travel Funding Pension & Health Plans Improved Benefits Holidays Safety Improvements VTA Improvements Artificial Intelligence Diversity, Equity, & Inclusion Changes & Improvements Sideletter Changes & Improvements Local 600 Specifics Local 600 Specifics (Publicists) Additional Provisions Concessions Agreed To Terms & Wages Basic Agreement Year One: 7% increase (Effective August 1, 2024) Year Two: 4% increase (Effective August 1, 2025) Year Three: 3.5 increase (Effective August 1, 2026) Video Tape Agreement Year One: 7% increase (Effective September 1, 2024) Year Two: 4% increase (Effective September 1, 2025) Year Three: 3.5 increase (Effective September 1, 2026) Overtime There are monetary penalties after working 15 hours. Hourly rate is 3x after 15 hours on the first five days Hourly rate is 4.5x after 15 hours on the 6th day Hourly rate is 6x after 15 hours on the 7th day Travel Pension and Health contributions for travel days – based on the employee’s actual travel time  on such days, with a minimum of four (4) hours and a maximum of eight (8) hours. (Basic, VTSA, and Publicists Agreements). Transportation allowance will now be paid when required to report to a location in the secondary zone Funding Pension & Health Plans PRODUCER CONTRIBUTIONS Producers will contribute additional $1.09/hour to Active Health Plan The Producers will contribute an additional $1.09 per hour  to the Active Health Plan in year one of the Agreement (The “Basic Rate”). Producers who pay “Basic Rate” will contribute additional amount per hour Producers who pay the “Basic Rate” will contribute an additional $.30 per hour in year one  and an additional $.45 per hour in each of years two and three . Producers who do not contribute $15 mil, shall contribute additional amount per hour For those Producers which do not contribute $15 million  in residuals during the term of the Agreement, excluding shops, facilities and other select entities, shall contribute an additional $.56 per hour  in year one, and an additional $.86 per hour  in each of years two and three RESIDUALS New Primary Market Residual to Fund MPI Health & Pension Plans A  primary market residual for High Budget Subscription Video On Demand dramatic streaming productions. If HBSVOD airs on certain platforms past initial 90 days, Producer pays % of Gross Reciepts Secondary Market Residual – If a HBSVOD program airs on Advertiser supported Video On Demand (AVOD), free to the consumer on advertiser-supported TV (FAST), free TV or basic cable beyond the initial 90-day period, then the Producer pays a percentage  of Producers’ total gross receipts derived from distribution of product. If HBSVOD achieves threshold of views, Producer pays 100% of Primary Market Residual to MPI Pension Plan Performance-Metric Bonus Residual: Producer shall pay 100%  of the Primary Market residual to the MPI Pension Plan if a High Budget Subscription Video On Demand (HBSVOD) program achieves a certain threshold of views  on the SVOD platform. Improved Benefits RETIREES Those retired prior to August 1, 2009 will receive 13th and 14th checks. One-time payment equivalent to the value of one additional monthly check to those retirees who retired prior to January 1, 2025 , and who were employed under the Basic Agreement or Videotape Agreement. PENSION PLAN ACCRUAL RATE Pension Plan accrual rate increase to 15% under specific terms BEREAVEMENT LEAVE For the first time, regularly scheduled employee shall be provided three (3) days of paid Bereavement Leave for the death of a family member. The employee shall not be replaced  due to accessing Bereavement Leave, although an episode of a production may be completed for continuity before the employee is brought back to the job. BENEFITS & 2023 For 2023, a “qualified year” of vacation accrual will be triggered with 40 days of work within that year  (reduced from 100 days of work). No participant shall incur a Break in Service for pension plan year 2023 due to reduction of employment in 2023 All participants with 65 or more hours in 2023  shall be credited with a vested pension year. SICK LEAVE More sick leave days – increase to a maximum to 80 hours or 10 sick days  (previously 48 hours or 6 sick days) - effective January 1, 2025 Increased sick leave bank – 40 hours or 5 days of sick leave per year  (previously 24 hours or 3 days) - effective January 1, 2025 Access accrued sick leave sooner – Lower the eligibility threshold for sick leave to 45 days of employment  (previously 90 day) - effective January 1, 2025 DENTAL PLAN MAXIMUM INCREASED Dental Plan Maximum benefit increased to $2,500 (previously $2,000) SEVERANCE PAY Severance Pay for those with 12 or more qualified years will receive an additional 25% of the applicable severance pay. The definition of a “qualified year” for purposes of Severance Pay shall be eased for 2023 (an employee only needs to have worked 94 days  in 2023) Easier to qualify for Severance Pay - a “qualified year” will be triggered after 170 days of work required (previously 200 days) OTHER The Union and AMPTP agree to recommend to the Trustees of the MPI Pension and Health Plans that a 401(k) plan be created which will be funded from voluntary contributions by employees. No increase to health care coverage costs or prescription payments No cuts to health benefits Holidays JUNETEENTH RECOGNIZED Juneteenth added as holiday  UNWORKED HOLIDAYS & VACATION PAY Unworked holiday percentage increases from 4% to 4.583%  beginning January 1, 2025. Basic cable programs unworked holiday and vacation pay is improved as paid for network Series 50% will be paid in season two (previously 0%) 100% in season three (previously 50%) Network, Pay TV, and streaming mini-series unworked holiday pay will increase 50%. Safety Improvements SAFETY OFFICER PILOT PROGRAM EXPANSION A Safety Officer Pilot Program shall be expanded , modeled on the CA tax incentive legislation: From July 1, 2025, through June 30, 2026, in NY and GA , a dedicated, qualified Safety Officer (who shall create a risk assessment for the production) shall be present on the set of one feature length dramatic production per major studio. BETTER COURTESY HOUSING & ROUNDTRIP RIDE PROVISIONS Name and contact information for person coordinating rides and rooms must be included on call sheets The Producer will reserve a room for the length of turnaround or until call time , whichever is earlier. Producer shall pay the full amount for the ride or room up front The Producer will provide secure parking  for employees’ vehicles for the entire time, not just the workday REST PERIOD PENALTY (AKA TURNAROUND OR FORCED CALL) A minimum of one-half hour of double time shall be paid for the initial invasion  of the daily and weekend rest periods. Thereafter, the double time invasion will be paid in one-tenth hour increments.  VTA Improvements WORKING CONDITIONS, WAGES & HOURS New series  and seasons of one-half hour single camera prime time dramatic television  shall receive working conditions, wages, and hours per the Basic Agreement.  Streaming non-dramatic shows  will now receive working conditions, wages, and hours per the Videotape agreement (before, everything was as negotiated). INCREASED RATES Increased rates for new series or seasons of many reality shows  by an additional 3% in year one , an additional 3% in year two  and a move to the full 15a wage schedule in year 3.  ENSURE CAMERA OPERATOR SAFETY New contract language: the Producer will take steps to ensure that the Camera Operator can move safely , including, if necessary, utilizing a spotter, when executing a tracking shot while supporting a weighted load. Artificial Intelligence CLEARER DEFINITIONS Clear definitions  for A.I. technology (“AI Systems”) If A.I. tools are assigned to an employee, that shall be covered by the agreement COMMITTEE TO DEVELOP WORK TRAINING PROGRAM Committee will be formed  to develop work training program to use AI Systems EXPECTATIONS OF EMPLOYEES & AI Employee is not required to provide prompts  in any manner that results in the displacement of any covered employee. An employee may request a consultation  with the Producer regarding the use of AI Systems and a Producer can reject the use of AI Systems  in an employee’s work. If Employee uses on AI System, employee should negotiate kit fee The Employer will indemnify employees from liability  due to the use of A.I. Clear and conspicuous consent to scanning  which cannot be a condition of employment.  MEETINGS WHEN REQUESTED Quarterly meetings  with individual companies and bi-annual joint industry-wide meetings when requested by the union. Diversity, Equity & Inclusion STRONGER PROTECTIONS FOR BROADER GROUP OF PEOPLE New non-discrimination language that provides stronger protections  for a broader group of people. ELIMINATION OF GENDER SPECIFIC PRONOUNS Elimination of gender-specific pronouns  in the contract language. Sideletter Changes & Improvements EASIER TO LOCATE RATE, TERMS & CONDITIONS All wages, terms and conditions will move into the body of the Agreement  – except for Made for Home Video – so it’s easier to find your rate, terms and conditions. STREAMING IMPROVEMENTS Advertising-based video on demand (AVOD) and Free ad supported television (FAST) now have the same wages, terms and conditions as subscription video on demand  (SVOD). Before they were as negotiated. All High Budget SVOD, AVOD and FAST productions will be treated comparable to network television productions. WAGE INCREASE - LONG-FORM/MOW RATE INCREASE, DEPENDING The Long-Form/Movie of the Week rates have been increased up to 21%, depending  on project and classification WAGE INCREASE - NETWORK, PAY TV, AND STREAMING MINI-SERIES, DEPENDING Network, pay TV, and streaming mini-series wages have been increased up to 30%, depending  on project and classification. Formerly, it was MOW rates. DOUBLE TIME AFTER 12 (SOMETIMES AFTER 14) Double time will begin after twelve  worked hours except where better conditions apply, replacing double time after fourteen (14)  hours elapsed for certain pilots, Basic Cable season on, mini-series, network and Pay TV longform productions, and Mid and Low Budget streaming projects. Local 600 Specifics DP PAID WAGES WHEN PROVIDING SERVICES The Director of Photography shall be paid wages and benefits when asked by the Producer to provide services as a consultant to the Timer  when timing answer prints or digital intermediates after the negative is cut or color correcting motion pictures shot digitally or in connection with a video transfer.  PRODUCER CANNOT REQUIRE DP TO OPERATE TO BE EMPLOYED The Producer shall not require the Director of Photography to operate the camera as a condition of employment.  RE-RATE PREVAILS AFTER 2 HOURS OF WORK If the Producer temporarily upgrades an employee for two (2) hours or more in a classification higher  than the classification under which the employee is called for work, the higher rate shall prevail for the entire workday.  Operators will now be treated the same  as all other Local 600 classifications and can negotiate their rates. OVERTIME PROVISIONS ON 6TH DAY (DISTANT LOCATION) Overtime provisions will now apply to a sixth (6th) day  worked on a distant location. AMENDMENT AGREEMENT Rhode Island has been added to the Northeast corridor under the Amendment Agreement. Local 600 Specifics (Publicists) ON-CALL CLASSIFICATIONS PAID 2X ON 7TH DAY When required by a producer, on-call classifications will now be paid double time for work on a seventh day  in a work week. GUARANTEED 2 WEEKS OF EMPLOYMENT AFTER PRINCIPAL PHOTOGRAPHY Unit Publicists shall be guaranteed two (2) weeks of employment  after the completion of principal photography to finish their work. PENSION & HEALTH BENEFITS EXTENDED TO 20 STATES TOTAL Unit Publicists employed directly by a signatory Producer will now receive pension and health benefits when asked to work in or travel from any of the ten (10) additional states within the United States bringing the total covered states to twenty (20). Additional Provisions CSATF TRAINING NOW $25/HOUR Payment for CSATF Safety Pass training classes will increase to $25/hour (previously $20/hour) BULLETINS A bulletin will be distributed encouraging productions to utilize the applicable Local as a resource for qualified job applicants for non-rostered classifications. A bulletin will be distributed to productions regarding appropriate heating and cooling options when possible , for on- and off-production locations. An Industry Bulletin will be distributed reminding productions that grace ‘shall not be scheduled nor automatic nor is it intended for everyday use.’ Expanded expedited arbitration provisions Producer will be required to notify the Union in advance if it intends to subcontract any work under this Agreement. Concessions Agreed To Producer-paid contributions to CSATF approved by the Union.  Under the Videotape Agreement, when one camera is used on a non-studio or reality pick up on a non-dramatic program, the Director of Photography may operate when they request to do so, with the understanding that it is not a condition of employment  and provided the Producer notifies the Union of the request. Aligning with the other Unions and Guilds, streaming episodes can exceed their contractual length by up to three minutes  without being considered to have exceeded their ‘program length.’ Agreed to by the tri-Guilds. This is based off a summary and not contractual language. You can find the latest updates on IATSE's website: https://basic.iatse.net/ Disclaimer: FreeMe is not a legal firm and should not be relied on for legal advice; instead, all information, content, and materials available on this site are for general informational purposes only. Readers of this website should contact their attorney to obtain advice with respect to any particular legal matter.

  • 3 Steps To Take When A Producer Doesn’t Pay Up

    Unfortunately, in the film industry there are times the producer does not pay us for our work as crew members. I honestly don’t know why this is so common that every person I know has at least one horror story. Of the 9 years I have been working in this industry, I can recall maybe 3-4 times in which I had to demand my money. If you are wondering how to e-mail a producer when they are overdue in payments, you've come to the right place. This article is to help guide you on how to navigate these difficult situations. Before we get into getting to the point of what to do after a producer hasn’t paid you, I have two things to point out. First, when you start a job, you should always get everything in writing . At minimum, you need an email stating your pay and for which days . Others have suggested getting your terms (typically net 30) in writing as well. The more information the better. Getting a crew deal memo is always a good paper trail,  but does not always happen before the job. Normally, a seasoned producer/line producer will reach out to you confirming this information, but sometimes, especially with lower budget jobs, you will be working with inexperienced productions. When you get everything in writing, you have hard tangible proof of the terms agreed to, in the event of a wage dispute. Otherwise, it's a game of “he said, she said”. Establish the paper trail. Second, it's important to mention that in our industry, people work both payroll (w2) and contracting (1099) jobs. The reason why I bring this up is because you’ll run into less problems getting a paper trail on a payroll job because you have to on board and do more paperwork. Contracted jobs (1099 jobs) are more loose and are the ones to be a little more weary of. You can always ask a producer if it’s w2 or 1099. Another way to say it, is it payroll or invoice. If your gut does not trust production, make sure to confirm your rate via e-mail before you start the job. Side note: Technically, you should be classified as an employee based on the assembly bill AB5, but that's a topic for another day. So what happens when you’ve agreed to a job paying 1099, had terms of net 30 (paid 30 days from invoice), and 30 days pass by with no payment? Step 1: Follow Up When those 30 days hit, I send an email stating that it has been 30 days and ask what's going on with the payment. It’s important to keep all correspondence polite and matter-of-fact. Producers are people too, and they can make innocent mistakes. Here is some text you can copy and paste into your e-mail if needed: Hello [Producer/Line Producer], I sent an invoice on [date], which means it has been more than 30 days and I have not received payment for [Job Title]. What is going on with the payment and when should I expect to receive it? Sincerely, [Your Name] Here are some real examples you can also look at: Depending on the response, I will give it a few extra days. If they were truthful about it already on it's way, I will give it a reasonable amount days. I don't typically allow it to linger too long. If you are feeling generous, you can give them extra time or clarify when you should expect your payment to come. I don't like to enable this kind of behavior, so I usually move on to the next step pretty quickly. NOTE: If this a project was for a friend or a producer that you want to keep a relationship with, then it's up to you how you would like to handle the situation or how much leeway you'd like to give. At this point though, you have a right to file a wage claim if you chose to do so and you should not feel guilty for asking for your money. Step 2: Send a Courtesy E-mail Decide on a date in which you will send this courtesy e-mail. I would give it a week AT MOST, but absolutely not more. If you had already given them a second chance and ample time to make reparations and they still have not sent you payment, they've gone too far. They now are taking advantage of you, your labor, and your time. This is your livelihood and it's not a game. In this email I would state the following facts: a) 30 days from invoice was (date) b) payment is ____ amount of days past due and I still have not received payment c) This email serves as a courtesy notice that I will be filing to California Labor Board if I do not receive the payment by (date) d) (optional) Ask for a response to the e-mail so you know it has been received (optional) Here is some text you can copy and paste into your e-mail if needed: Hello [Producer/Line Producer], [date] was 30 days from my invoice, which makes it [# of days] days past due and I still have not received payment. This is a courtesy notice that I will be filing a wage claim to the California Labor Board if I do not receive payment by the end of day [date]. Please respond so I know that this e-mail has been received. Thank you. Sincerely, [Your Name] NOTE: I would recommend writing out the whole date, such as “July 7, 2024.” It makes no mistake what date you are referring to. Before you hit send, you must know that you risk never getting another job from them ever again. You are very likely burning this bridge by sending this e-mail. Does that mean you will NEVER work again? Probably not. There are plenty of other productions and producers/line producers who are more experienced and professional. Losing this toxic relationship gives you room to welcome better ones. Personally, when I get into this kind of situation, I do not care to work for people who do not respect my time and labor. If I let them pay me whenever it is convenient for them, I am becoming an enabler saying it's okay for them to treat myself and others this way. Hopefully my actions will make them think twice in paying others late. Here are 3 examples of sending a courtesy e-mail. Example 1 was a company that said checks were out, but multiple people were unpaid from this job which is a really big red flag. Example 2 was a company that said they dropped the checks in the mail, but later admitted they only sent half the checks when I messaged them. They agreed to switch to PayPal as a method of payment, but they still didn't send me anything. This was my only time I ever filed a wage claim. My payment came shortly after and I cancelled the claim. Example 3 is from a company that fired and replaced me overnight due to my union status (as well as everyone else that had a union status) which is a story for another day. They had agreed to pay me for the days I was booked. I highly recommend doing steps 1 and 2 and not skip to step 3 . A wage claim is not a quick process. If you can get the producer to pay you, it will be much faster. Of the 3 or 4 times I had to get to this point, I have been paid 100% of my wages after sending a courtesy notice. Step 3: File the Wage Claim If it comes to this point, there are penalties for unpaid wages. It means you could potentially get paid a lot more than what you had charged the longer they take to resolve it. If you do not live in California, you can google “how to file a wage claim in (your state)”. Otherwise, here are the steps to take in California specifically: Gather documents (e-mails, text, etc... this is why a paper trail is important!) File the wage claim through the Department of Industrial Relations online portal. Attend the settlement conference (Don't miss it, otherwise your claim will be dismissed!!) Prepare for hearing (get all your facts straight) Attend the hearing Wait for decision Appeal if necessary For a real life example, I know a friend who had filed and here is his story: "In June 2019, I did five days of work for $650/10 hours, so they owed me $3,250. After 30 days, it was radio silent. Over the course of the next year, I found out that no one had been paid for this job. I finally filed a claim on June 9, 2020 about a year after the job finished. Another year passed before I heard from the labor board. It was maybe a 6-8 month process. There was a settlement conference, which they tried to settle for $1600, less half of than what they owed me and then ultimately a hearing on April 2022. At the hearing, the Labor Board ruled in my favor and now they owe me $24,481.80. I was notified this in August 2022." They let me look at their documents, and it looks as if they were charged for the original wages, liquidated damages, interest, and waiting time penalties. I want to emphasize that even after the ruling, retrieving this money is an entire additional process in itself. It also is not guaranteed they would pay you immediately. It's very possible they could try to avoid paying you further despite the ruling. Filing a wage claim should be a last resort. The process to file is quite easy. They have updated the website and made it simpler to file a wage claim in California. Here is the direct link  with instructions. Here is also a YouTube video  I came across that explains the process thoroughly. How to Deal with Petty Producers If a production argues with what you are rightly owed or becomes petty with you, do not react. Simply state that you can agree that you both are clearly not on the same page and can have this discussion with the labor board. Here is the last example I will share. I was at the beginning of my career and worked on a job where production believed they did not owe me for meal penalties and overtime. They assumed the time during travel was considered free so they did not want to pay me overtime. They also lost my slate and would not reimburse me for it, despite being generous and not charging a kit fee (rookie mistake)!! If you give a mouse a cookie… Names in this example have been replaced with other names. Fortunately, I was knowledgeable enough about labor laws that I could hyperlink and reference information to them. Here are the links that I used in order: Overtime Meal Penalties Hours Worked Hours Worked (2nd Mention) At the end of it all, they paid me the wages I was owed. I hope that this level of pettiness does not happen to you and that if it does, this article can help you navigate how to deal with those kinds of situations. Have you ever encountered a situation where a production did not pay you on time? What strategies do you use to ensure you have a clear paper trail before starting a new job? What tips would you advise newcomers in the industry to avoid payment issues? Let us know by filling out our contact form . We love hearing from our readers. Let FreeMe keep track of information for you. Navigating payment issues in the film industry can be daunting, but with the right tools and knowledge, you can protect your rights and ensure you're compensated for your hard work. As you tackle challenges like following up on overdue payments or understanding the intricacies of 1099 versus W2 jobs, consider using FreeMe to simplify your workflow. With FreeMe in your corner, you can focus more on your craft. Download FreeMe today and empower yourself on your journey! Disclaimer: FreeMe is not a legal firm and should not be relied on for legal advice; instead, all information, content, and materials available on this site are for general informational purposes only. Readers of this website should contact their attorney to obtain advice with respect to any particular legal matter.

  • Hello World - Meet FreeMe

    Welcome to the FreeMe blogs!     Today, I'm thrilled to dive deeper into what FreeMe has in store for you and how we plan to amplify the filmmaking experience. So, grab a seat, and let's explore the exciting features and developments awaiting you with FreeMe.     As a professional 1st Assistant Camera, I hop from gig to gig. Like many people I have spoken to, I also have a MASSIVE excel sheet to track all my jobs, payments, rates, as well as who hired me or recommended me. The process from booking a job to finally getting paid was cumbersome. My notes were scattered between my apps (notes and calendar specifically) and after a 12 hour day, I lacked energy to organize it all. Sound familiar? I thought there must be a better way... an app, perhaps?     Flash forward five years, FreeMe is here. Here are all the features that make FreeMe different than other existing software:       Crew first.  FreeMe is made for crew by crew. This app is not a payroll company that producers required you to enroll in. It 's a universal timecard app where it's primary purpose is to support you, the crew member, regardless of the payroll company or if it was a w2 or 1099 job.   (It does both!) Timecard or invoice export.  One of our biggest highlights is the ability to export PDFs in an invoice OR timecard format of your choice right when the job is done. Once the job is over, click export and you can immediately forward the PDF to your producer. It does all the calculations for you in seconds.  You don't need to go home after a 12 hour day, sit at your computer, and make sure you didn't forget to charge the meal penalty, forced call, or overtime. Easy to use.  With a one-look view, you can see all the information for the day and easily switch to other days if necessary.   User-friendly.  FreeMe interface is easy on the eyes. Thoughts on design, usability, and efficiency were considered for a quick way to keep track of information.   Time-saving.  FreeMe automatically calculates various types of information, including:   Hourly rate breakdown Meal penalties (non-union or union ) Overtime Gross wage Real time into tenths or quarters   Forced call Network notes.  Keep track of your network by adding who recommended and hired you   Details, details, details!  Add taxed and non-taxed items like kit fees, per diem, reimbursements to remember easy-to-forget items. Customization. Change the rules per job. FreeMe defaults to California labor laws, but it can be customized as needed:   Overtime customization   Turnaround/Forced call customization   Meal penalty rates (union only) Ability to categorize day types (prep, tech scout, pre-light, idle, wrap, 6th day, 7th day) as well as changing specific days to different guarantee hours or rates Tailored to your needs.  Additional rules unique to our industry considered such as forced call, grace, and pre-call     As for the future... we have BIG dreams for FreeMe. There are lots of exciting features and valuable blog topics so FreeMe can be a useful resource.     The current version, FreeMe V.1, has all the necessary elements but doesn't have all the features we envision for it yet. As FreeMe grows, we will add more and more aspects that will benefit crew members. Here are a few immediate things to look forward to in later versions of FreeMe:     Summaries to assist with tax season   More customizations for invoicing   Features to make clocking times efficient   Paid/unpaid indicators     Upcoming blog topics include:     3 Steps To Take When A Producer Doesn't Pay Up How to Calculate My Hourly Wages and Overtime? 10 Hard-Hitting Lessons I Learned When Starting in the Film Industry   How to File a Wage Claim Tips for 1st AC's   Tips for 2nd AC's   How to File for Unemployment as a Freelancer     Subscribe to receive regular updates on the new features and resources that will elevate your filmmaking experience.     Have any feedback on FreeMe? Do you have insights about the industry that you'd love to share? Or are there questions about the industry that you'd like to know more about? We would love to hear from you. Our mission is to support the crew member – please let us know how we can assist! You can leave feedback on our feedback form or e-mail us at support@thefreemeapp.com     Thank you to all those who have supported FreeMe in it's journey so far.  I'm filled with excitement and anticipation for the adventure ahead. Welcome  to the first chapter of FreeMe. :)   Download on the App Store

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