Jump to content


Photo

Inquiring on AC jobs


  • Please log in to reply
2 replies to this topic

#1 Susan Jacob

Susan Jacob

    New

  • Basic Members
  • Pip
  • 2 posts
  • 1st Assistant Camera

Posted 05 February 2007 - 11:20 AM

Hi all,

I've been lurking for a while, but I figured I'd come out with this, since I haven't found an approach that I'm really happy with yet.

I'm a Non-Union (but Local 600 eligible for immediate join, I just have to pay and sign) AC in Connecticut, wokring in NYC, Boston , and everywhere between and a bit beyond. I am getting together the money for joining the union, but I can't afford to keep up payments without work, as I'm sure many of you have trouble with sometimes. Yet, since I'm eligible to join there's just another catch-22, the union does not help you find jobs. So, I'd like to make contact with Camera Operators and DPs in the area to see if I can get a job on a union show. I can join up Local 600 about 45 minutes Mark Bentley told me, so finding a union job first would be ideal.

So, my question is, what is the best way to approach Camera Operators and DPs (or whoever else is hiring crew other than them)? I was thinking of sending out letters and resumes to people I think I'd like to work for, telling then why I think I'd like to work for them, etc., but does anyone else have suggestions? The AC reel is a bit meager as I haven't gotten copies of most of the stuff I've pulled focus for, but I've got quite a few references. Is calling these people better? Should I not approach DPs at all, just Cam Ops and Production? So far I've been getting enough short gigs to get by, but not enough to really thrive and I have to do too much on the side to really focus on my craft as much as I'd like to.

To throw in another loop, I've been 1st AC non-union for about three years and I'm more than happy to load or 2nd for a larger show, as the demands in many cases are a bit higher than what I'm used to (or at least I imagine them to be, maybe not considering some stuff I've worked on...), so how should I address that in my letters and my approach? Or, I should say, how would you like to see someone approach you? It seems that people like to know you're commited to a particular position, but I just love to work in the camera department.

Thanks in advance for any advice.

Susan Jacob
  • 0

#2 Annie Wengenroth

Annie Wengenroth
  • Basic Members
  • PipPipPipPip
  • 653 posts
  • Sound Department
  • Brooklyn, NY

Posted 17 February 2007 - 10:02 PM

Hey Susan,
what's up? Good to see you on here. Things seem to be fiiiinally picking up...drop me a line sometime! I don't know what to tell you as far as networking but maybe we could help each other out. (We took the test together. Fun times!)
  • 0

#3 John Thomas

John Thomas
  • Sustaining Members
  • 116 posts
  • Cinematographer
  • Akron, Ohio USA

Posted 18 February 2007 - 11:17 AM

So, my question is, what is the best way to approach Camera Operators and DPs (or whoever else is hiring crew other than them)? I was thinking of sending out letters and resumes to people I think I'd like to work for, telling then why I think I'd like to work for them, etc., but does anyone else have suggestions? The AC reel is a bit meager as I haven't gotten copies of most of the stuff I've pulled focus for, but I've got quite a few references. Is calling these people better? Should I not approach DPs at all, just Cam Ops and Production? So far I've been getting enough short gigs to get by, but not enough to really thrive and I have to do too much on the side to really focus on my craft as much as I'd like to.

To throw in another loop, I've been 1st AC non-union for about three years and I'm more than happy to load or 2nd for a larger show, as the demands in many cases are a bit higher than what I'm used to (or at least I imagine them to be, maybe not considering some stuff I've worked on...), so how should I address that in my letters and my approach? Or, I should say, how would you like to see someone approach you? It seems that people like to know you're commited to a particular position, but I just love to work in the camera department.


Susan,

On a lot of productions you can get a chance when you come in as an additional second or loader. The rest of the camera crew bumps up when we add a camera or separate unit. You may be a brilliant focus puller but most people will not give you a try until someone they trust has worked with you. The A camera second does all of the booking of additonals on the shows I've worked on. He's the guy I'd try to get to know. You can get your foot in the door as a loader. good luck..
  • 0


Tai Audio

Gamma Ray Digital Inc

Rig Wheels Passport

Visual Products

Technodolly

Paralinx LLC

Opal

Broadcast Solutions Inc

Willys Widgets

Abel Cine

Glidecam

Media Blackout - Custom Cables and AKS

Wooden Camera

Aerial Filmworks

rebotnix Technologies

FJS International, LLC

The Slider

Ritter Battery

Metropolis Post

CineTape

CineLab

Visual Products

Paralinx LLC

rebotnix Technologies

Ritter Battery

Technodolly

The Slider

Tai Audio

Media Blackout - Custom Cables and AKS

Rig Wheels Passport

Aerial Filmworks

Broadcast Solutions Inc

Glidecam

Gamma Ray Digital Inc

Abel Cine

CineLab

Metropolis Post

FJS International, LLC

Willys Widgets

Opal

Wooden Camera

CineTape