All we need now is for Gavin to sign it!!!

I’m pretty fresh out of film school and i want to get into development or producing. Entry level jobs there are mostly assistant jobs or starting in an agency mailroom then getting on someone’s desk.

Thing is, looking at my resume I don’t have much to set me apart from other candidates. But I’m wondering what an ideal resume would be for whoever is hiring for that position, what would they want to see? For those of you who have worked jobs like this, what set you apart to get the job?

We have a 5 year old and a 3 month old.

My wife just got a stable great job that travels regularly and I’m worried about the prospect of me working in travel gigs and other local things.

Anyone have any solid childcare options they’ve used with success? Any words of wisdom? I’m thinking of using my state paid family leave in December for a little break from the industry but this will be an ongoing issue in my career. Curious how you all handle it?

I'm a complete outsider, but I read snippets about high entry fees for labor in multiple areas. If that's an issue why bother with the high base level hourly rates or salaries if the end result is it just makes everything less solvent and work moves elsewhere?

It's like actors asking for 20 million plus points on top. Just take less up front if possible, and if things go well, the wealth and profit can be shared more broadly. It minimizes the production losses when things inevitably don't do well, and captures and spreads the gains when lightning strikes.

Is this just not doable for some reason or a terrible model for other reasons?

I have a Canon Scoopic 16mm arriving Wednesday and I’m hoping to find someone local who knows the camera well and could help me that day once it arrives. I mainly want someone to show me how to properly load/thread a 100-foot daylight spool and watch me do it myself once so I know I’m doing it correctly. I’m in Encino and would prefer Encino/Sherman Oaks/Studio City/Valley area if possible. Happy to pay a reasonable fee for 15–20 minutes of your time. If you’re available Wednesday, please let me know.

ive been in tech for the past decade, didn't exactly love it, but it paid the bills, now at 32 years old, i want to do something i like, and i like watching films and learning about how they are made, i know i have to start at the bottom, like an office production assistant, are there any specific job searching websites for film production like there is for tech.

i tried indeed and linkedin but no luck on that

i was hoping to find a site that specifically is for the entertainment industry

Hey team! Anyone else seriously considering a fundamental career shift? What fields are y’all looking at? Anyone exploring hvac?

I’ve worked in entertainment since 2006, almost exclusively production dept. For a while I was on staff at a company as a Line Prod in but they went out of business and let everyone go. Then I got another LP staff job and that company also went out of business. Maybe I’m bad luck…

Anyway, for the past 3y I’ve gone back to my roots Truck PA’ing. I’m pretty good at it and I generally like helping people, but as y’all know, it can be shit work and even shittier pay. And the way some folks treat the PAs on set is really starting to take a toll on my attitude. I don’t want to end up a Cynical Cyrus.

I’m wondering what my fellow brothers and sisters in the industry are feeling. Stay in the field but move horizontally? Keep trying to move up the ladder? Or just bail out altogether and do something completely different?

Woof.

I’m working on a low budget feature that I’m shooting in a couple of months, but I don’t have any real rental house relationships in LA yet. Do you guys have any recommendations for good rental houses to go to for getting gear for the shoot? Trying to find somewhere that has reliable stuff but also won’t wreck our budget. Feel free to either comment or message me!

EDIT; I already had a discord server for a film club (like a book club) that kind of died down. But I'm going to post the link so we can utilize the meetup channel! https://discord.gg/y9CCHtx9B

Little bit of a silly post, but I know a lot of us are underemployed so I know maybe a couple of people might entertain it. I've been a video editor for ~10 years, working professionally in online ads for tech for 5. I'm bored as hell. I'm incredibly lucky to have my bills paid and extra time. I've been an artist my whole life, and somehow by some crazy strike of luck I got to do production design for an indie feature last year, which led to another earlier this year. I just want to keep making more things and with my limited portfolio it is understandably hard to get hired on gigs in the art dept without knowing someone. I handmade realistic weapons, sewed textiles to set dress with, and helped age costumes on the fly. I even built a "broken engine" for a busted up car. I can paint, airbrush, sew, sculpt, build, dress, costume design, literally about anything. I have been doing these things for free or very little money, and like I said I'm bored. I want to put some more things on my portfolio, but I have only been working on individual art projects lately. If anyone needs an art freak with a full tool kit for literally whatever they're working on let me know!

For ur 20s
Step 1: Find like minded individuals.
The perfect creative group of friends doesn’t exist but there’s certain characteristics that you should look out for: No ego, willingness to share credit and doers.

When you are young ego and the chance at success are the two things that really fuck over ppl. “Oh my god our first video/sketch went viral” “my script got good reviews and I have a manager now and a producer is interested in working with me.” NOTHING IS REAL UNTIL IT’S MADE. Do not fuck over your friends or let yourself be fucked by someone that says this stuff and thinks their big Hollywood journey is about to start. It’s a marathon and you run it with the same ppl.

Step 2:
Make things, do things, write things. JUST DO IT.
All you need is one funny video, a good script, a well directed sketch and you can start getting shots. BUT you need to eventually reach a tipping point where it’s undeniable. Everything is going to be a fight, no one comes down and bestows value upon you. You’ve got to make it yourself.

Step 3:
Be a good hang. Probably the most underrated strategy. Once you’re in the mix, be fun to hangout with. Show up for your friends, support ppls visions. ITS EASY TO BE CRITICAL. Find what works.

Step 4:
Free UR mind baby. Anything is possible. Someone has to do it. Y not u.

Step 5:
Survive. It’s a game of attrition more than mtalent.

Hi everyone!

I’m developing an independently produced speed-dating project that I’m hoping to shoot in Atlanta during the week of September 20–26. It will feature five men and five women having real, substantive conversations rather than typical first-date small talk.

Because the project is self-funded and paid for entirely out of pocket, I’d love insight from those of you who have crewed reality or unscripted shows. How would you approach staffing and shooting this as efficiently and cost-effectively as possible without sacrificing sound or picture quality?

The shoot will have three main components:

1. A standing mixer where all 10 participants mingle

2. Seated, timed one-on-one dates with five couples talking simultaneously

3. Individual confessionals/interviews in a separate setup

My biggest concern is capturing clean audio from multiple conversations happening at once while also getting enough visual coverage to create a polished, engaging final edit.

I’m also considering shooting primarily on iPhones or renting multiple matching iPhones to keep the camera footprint small, maintain consistency across the footage, and hopefully make the post-production workflow more manageable for the editor.

For those with reality-TV field experience:

1. What would your leanest practical crew look like?

2. How many cameras/operators would you recommend?

3. How would you handle audio for 10 cast members?

4. Would you trust an iPhone-based multicamera setup for this type of project?

5. Are there any roles or pieces of equipment you would consider absolutely essential?

I’ve included reference images for the mixer, seated dates, and confessional look I’m envisioning. I’m just hoping to learn how experienced unscripted professionals would think about approaching this responsibly on an independent budget.

Thank you in advance for any insight!

My last post here turned into a pretty wild argument. Some of it was useful - I have gotten tons of good exposure and more than a couple highly qualified crew people who raised their hands to come work on the movie.

Also, some of it was people telling me to shut up, stop posting, stop trying to sound like a LinkedIn influencer, or whatever. Trolls gonna troll. That's the price of putting yourself out there.

But one thing did stick with me.

I'm from LA - born and raised just outside the fence of one of our classic studio backlots, so the identity of growing up in this industry is deeply a part of who I am.

And what I was talking about was not what lot of people here were responding to - the question of whether you can still make a living in this business. It is a cyclical business, currently experiencing one of the worst downturns in a generation.

But I'm personally asking whether the filmmaking spirit is still alive in Los Angeles.

That might be a harder question, but I think if the industry is going to come back, the grassroots, idealistic, try-hard, indie spirit needs to build itself back up first - despite all the haters telling me that it's never gonna happen.

Look, you can still scrape together a small movie in LA. I’m doing it. Other people are doing it. Obviously that doesn’t help people who need to feed their families if you used to work nine months a year and now you’re lucky to get a couple weeks. It doesn’t replace union hours, healthcare, pension contributions, or just having a paycheck you can actually plan your life around.

I think I probably underestimated how much of the anger around this stuff is really grief. People lost work, careers. Some lost houses. That’s not just a bitter mood, it's a real problem.

People clearly still want to make things. The question I’m more interested in now is what makes a small job worth saying yes to.

If the rate is low, what might make you consider doing it anyway?

The people? The script? Short days? Knowing the producer will actually pay you on time? Getting a chance to move up? A director you trust? Just wanting to be back on a set again?

And what makes you walk immediately?

I’m producing one of these little movies right now, so yes, I have a selfish reason for asking. But after the last thread, this feels like the more useful conversation.

genuinely wondering if anyone here has actually gone through DET Pa or writing Initiative (Disney). Feels like I can’t find much info online, so… did this thing actually work out for anyone?

I’m looking to connect with an agent or manager in the NY/NJ area and could use some advice on the best way to go about it.
I was featured on a Paramount+ series and recently started pursuing more acting and on-camera work through Actors Access and Backstage. A few days ago, I was on a podcast with Jessica Shaw, and I also have some other things in the works with Paramount.
I have a pretty distinct/castable look — muscular build, tattoos, bald head — and I feel like there’s a lane for me if I can get in front of the right people.
If anybody knows someone who’s looking to take on new clients, let me know!

Hi everyone,

Currently on a union scripted tv show as a camera operator. We work on pedestal cameras, but for about a year now I’ve been operating a jib with a fully motorized head. They pretty much have very elaborate shots on it and the skill demand is much higher. Instead of hiring a dedicated operator they had me take on multiple roles. Our rate is $72 but I’m trying to negotiate for a higher rate since it’s a specialized piece of equipment and none of the fellow operators can work on it. Does anyone have union rates for being a jib operator or specialty operating? They have asked for examples to help gauge it but I keep seeing rates lower than my current one.

Hello!

I’m curious to hear about current/former students of the 2-year film degree and your experiences not only during your time in school, but also what it has been like for you since you graduated.

Have you landed any roles in the field since you graduated? When you were in school, did you feel like they set you up for success and did you have true hands-on experience during your classes? Did you have the opportunity to network with production companies or anything like that?

I’m considering going back to school and this is one of the directions I’m looking towards so I’d love to hear from you!

hello! does anyone have access to production weekly and could check issues 1506 or 1503 for me? i'm trying to find info on a certain film mentioned in both of those issues, but i'm not really able to pay for a subscription right now
the film's production title is honeymoon funeral (also mentioned as honeymoon/funeral) so if anyone could send me the information from its listing in either issue i'd really appreciate it! and while i'm at it, i'd also appreciate any other info on the film if anyone happens to have some

The Motion Picture Editor's Guild and California Post Alliance are calling all California residents to take a few moments and contact to your state senator before next week's floor vote. It's the final countdown on getting the Post Production tax credit AB2319 Funded and passed in this legislative session!

Here is the link for the letter writing campaign:
https://actionnetwork.org/letters/tell-your-senator-to-pass-and-fund-ab-2319?source=direct_link

If you're feeling chatty CALL them via this link:
https://www.editorsguild.com/Post-Production-Bill/Call-CA-State-Senator

Couples Therapy S5 gave me an unexpected opportunity to experience television firsthand — and it left me wondering what else might be possible.

Since then, I’ve been exploring unscripted television, acting, and other on-camera opportunities while trying to learn as much as I can about this industry.

I’m not a trained actor. I’m a down-to-earth, hardworking guy with determination, grit, and a whole lot of life experience. I didn’t take the traditional path into this business — I found my way here by being myself.

So I have a genuine question for those of you who actually know this industry:

From your experience, do you think someone with my background and an unconventional start in television has something worth building on?

I’m not looking for people to tell me what I want to hear. I’d genuinely value honest opinions — even if the answer isn’t what I’m hoping to hear.

Have been having a lot of conversations with different producers and studio execs at different levels in the business.

The temperature as of late has been dark, with the most experienced folks I know arguing that deep structural reform needs to take place to bring the business and work back. But the issues go deeper than just the surface level issues that dominate deadline everyday.

One recurring conversation has been the lack
Of development due to the way Wall Street has encouraged and facilitated mass layoffs of the executive class over the past few years.

However, there remains an allocation problem as capital sits on the sidelines with an appetite to invest but losing interest in the opportunities available to them due to some of the dynamics of the business.

This essay synthesizes some of the conversations I’ve been having…but I am eager to hear brutal feedback because Reddit is a kind place

More interested in allowing these conversations to gain traction and reframe the most pressing issues

There’s room for some of the stakeholders to innovate together and thus….create more jobs

the sidecar / a new role for the p.g.a.

I know a handful of actors who have moved back to their home States because of the lack of work in LA. And I also know that other states are doing a better job of having incentives for film production.

And of course, I know that the industry is generally in a recession and it is difficult to get work in many ways.

But I think the question still stands -- if someone has the means to live in Los Angeles for whatever reason, whether it's another career or their trust fund, if they have the talent and the passion is LA still the best place to be?

I know that during the pandemic lots of auditions moved to self tape models.

But I still have to wonder, there's still all of this talk about how it's who you know. So does that mean that being part of art and performing communities in Los Angeles will still be most likely to have a positive impact on your career prospects? Even if the odds are still against you, is it wrong to think that going to La is still the best move?

Or do you think that with the recession is so bad and there are so many people working from their home States and home cities, that at this point it doesn't matter as much, and it's more important to just do whatever work you can wherever you are, whether it's Independent films or working in theater or anything like that?

We're working on a project where one of the roles would be a pretty unexpected casting choice and I'm learning just how difficult it is to keep something quiet once agents, managers, production and talent are all involved

Nothing has leaked but there have already been a few moments where someone mentioned a name and I thought, how do you even know that?

We've ended up keeping the final discussions to a tiny group and using Kibu between those people. Everyone else gets the information when they actually need it.

How do you control this kind of stuff? Is it mostly NDAs and limiting information or are there other things productions do that I'm not thinking of?