HOW TO SUCCEED IN FREELANCING WITHOUT BEING “TRYING”
\nBy Douglas Arnold, Executive Producer, Quantum Productions<\/p>\n
It seems that everybody wants to be a freelancer today. The least amount of
\nfilm or video experience suddenly transforms a novice technician into a
\nfreelancing professional anxious to take on any and every job.<\/p>\n
As a producer and director, I’ve hired and fired my share of freelancers. I
\noften thought that if only someone would give these men and women some idea of
\nwhat the real world is like, they would be able to advance their careers with
\nfewer headaches — both for themselves and for the producers they work for
\nduring a project.<\/p>\n
This is by no means a comprehensive list of ideas, opinions or recemmendations,
\nbut I think it is a good start. Freelancers, regardless of age or experience,
\ncan benefit from some or all of these ideas presented.\tI welcome your comments
\nand hope other producers and directors will contact me with other ideas to
\nexpand on this document. I will update it as often as I get new material.<\/p>\n
You will find three subchapters entitled “How Much Do You Really Know You
\nKnow?”, “The Business of Freelancing” and “Preparing for an Assignment.” It
\ntakes about ten minutes to finish the entire article.<\/p>\n
So, let’s begin at the beginning:<\/p>\n
1. HOW MUCH DO YOU REALLY KNOW YOU KNOW?<\/p>\n
O.K., you went to college and have a degree in communications\/ speech\/
\njournalism\/ theatre\/ etc. You know how (or should) to walk around a studio or
\nset and turn on some fancy equipment. You know the difference between 3\/4″ and
\n1″, as well as how to point a camera at a subject. But how many assignments
\nhave you really been on? How much tape have you edited or shot? I, as a
\nproducer hiring experienced people, want to know your level of experience in
\nhours of tape shot, not numbers of cassettes!<\/p>\n
Regretfully, there are more recent grads out there than jobs. Most experienced
\nproducers can spot them in a New York second — age 21 to 24, full of
\nenthusiasm, a resume padded heavily with co-op assignments, charity activities
\nand some “hands-on” internships.<\/p>\n
Most of these novices are looking for their first real break in commercial
\nproduction and they freelance to stay alive until a real 40-hour a week job
\nopens up. If they have a demo tape it is of their college extra-credit
\nassignment, usually of kids, animals or old people.<\/p>\n
These are not criticisms, just observations. I’ve seen dozens – more than a
\nhundred – resumes of this type. The University of Missouri Journalism School
\nis about 100 miles from here and it turns out some of the best grads anywhere.
\nMost return home to St. Louis and eventually I get their resume. Most are
\nheavy on education, light on experience.<\/p>\n
If you are a recent grad with limited professional (as in “I got paid money for
\nthis job”) experience, don’t try to dazzle people with your resume. It will
\nshow through immediately.<\/p>\n
So you don’t have years, or even months, of experience. Producers will
\nconsider young talent if they are mature, willing to following orders,
\nrecognize their limited economic value and have an positive, hard-working
\nattitude.<\/p>\n
Maturity is simple to define. Be on time. Be neatly and appropriately dressed
\nfor your duties. This means a suit sometimes, and jeans sometimes. Being
\nmature is knowing when to do things. Know when to keep quiet and when to
\nspeak.\tMost immature freelancers run at the mouth constantly; and in front of
\nclients this can be a problem to the producer.<\/p>\n
Willingness to follow orders is vitally important. I was recently on a shoot
\nand my gaffer would not light the scene the way my director wanted it lit. The
\ngaffer was a professional — he told my director his opinion of how it should
\nbe lit. This is not only fine, but I expect my professionals to make good
\nrecommendations, even if it is not the way I originally planned.<\/p>\n
He was polite and direct, no beating around the bush. My director listened to
\nthe gaffer’s idea. I like this director a great deal; she knew the man had
\nlighting experience and respected his knowledge. However, when he was through
\nexplaining his recommendation, she said it was a good idea but not appropriate
\nfor the mood the script called for. The problem resulted when the gaffer
\nrefused to set up the lights the way the director wanted them prepared. He
\nwanted to set them up his way and show her the effect.<\/p>\n
Now my director was quite experienced and could mentally visualize most
\nlighting situations. She also knew that we were on a tight schedule — and
\ntranslate that into every additional hour meant hundreds of dollars spent by
\nthe client.<\/p>\n
The two went back and forth for about ten minutes before the diretor called me
\nand explained the situation. She was not authorized to fire the gaffer; I was.
\nI heard her side and asked the gaffer for his side. (A good producer mediates
\neverything and should always hear both sides before making a decision) I
\nrespected his opinion but felt the director had a better understanding of the
\noverall “look” and “feel” of this production. Her lighting set up was to be
\nprepared immediately and the gaffer was informed that he would follow her
\norders on this shoot without getting me involved again.<\/p>\n
I told him that if was to work for me again, my directors were the final
\nauthority on everything that occurs on a set. He understood, but more than 45
\nminutes were lost on a very busy day. And he knew that my directors were in
\ncharge of all creative decisions before he took the job.<\/p>\n
Creative recommendations are important. They should be expressed, but when
\nprima donna directors, scriptwriters, gaffers, shooters, and talent clash one
\n— and only one — person will ultimately be in charge. Know who that person
\nis and do what that person wants done.<\/p>\n
Recognize that you have limited economic value to the producer. What does this
\nmean? Simply put, the producer is going to spend more of the client’s money on
\nexperienced professionals than for young professionals still learning the
\nbusiness. Most young people don’t understand the principle that you don’t get
\npaid for the amount of work you do, you get paid for how you do your work.
\nThis relates to the saying “Work Smarter, Not Harder,” but for most apprentice
\nworkers you must work smarter and harder.<\/p>\n
A young production assistant stopped me during a shoot several years ago and
\nsaid he did not understand why he got only $90 a day for being a production
\nassistant (a.k.a. “go-fer”\/grip\/driver\/etc.). He complained that he was
\nworking his ass off doing grunt work when he knew more than the videographer
\ndoing the shooting.<\/p>\n
I reminded him that he was hired as a production assistant and that he knew he
\nwas a P.A. when he signed on to the shoot. I didn’t need two shooters, I
\nneeded a shooter and a P.A. and he was the P.A.<\/p>\n
He did not like the fact the shooter was getting $150 a day for a lot less
\n“sweat work.”<\/p>\n
Maybe he was a better shooter.\tToday, I know he is a better videographer. But
\nhe was hired as a P.A.\tand he was paid P.A. wages. I make sure my crew knows
\nwhat they are to do and what they get paid before they work for me.<\/p>\n
New grads are not going to get paid the same as experienced, older workers.
\nThese workers usually know tricks of the trade, shortcuts and pitfalls to
\navoid.\tYounger workers are expected to learn while they earn, but earn less.<\/p>\n
Many producers won’t hire new grads at all. They don’t want to be bothered
\nwith overly enthusiastic, under-experienced people on a set. I must confess,
\nif the client is going to hover over a shoot, I don’t want a novice doing
\nsomething foolish in front of my bread-and-butter. There are jobs where new
\ngrads are welcome, and their are jobs where they are best avoided.<\/p>\n
Now, the subject of working hard. Really, I mean working “harder”, usually
\nharder than anyone on the crew. I look for young people who are willing to do
\nany job, large\/small, heavy\/light, minor\/major with the right attitude.<\/p>\n
A person succeeds in life partially because of their attitude.\tI like
\npositive, upbeat people on my crews. I want my crew’s spirit to be high. This
\nsends a message to my clients that we are confident, capable and creative.<\/p>\n
Hard workers surface in every profession. They go the extra mile, do the
\nlittle things, and follow up on every detail. It is hard to explain, but it is
\neasy to see when someone is a hard worker. Usually it is in contrast with
\nother workers who just aren’t putting 100 percent into their task. The hard
\nworker is obvious.<\/p>\n
I remember a videographer who did not carry or move the camera equipment on the
\nset — that was left for P.A.s to do. He was a bit of a prima donna, but
\noutstanding creatively. He worked hard finding the right angles, the right
\nlighting, the right movement for each shot, but he rarely touched the camera.<\/p>\n
When our day of shooting was over and we were breaking the set, he walked over
\nand picked up some trash that was blowing across the floor. He helped pitch in
\nloading our grip and offered to take one of our gaffers home, even though it
\nwas out of his way. He had worked hard doing his job during the day, and after
\nthe shoot continued to be a team player by offering to do more.<\/p>\n
A producer looks for people with maturity, the ability to follow orders, a
\nsolid grasp of their true economic value and the ability and willingness to
\nwork hard.<\/p>\n
2. THE BUSINESS OF FREELANCING<\/p>\n
Many freelancers don’t know there is more to freelancing than just working.
\nMuch more.<\/p>\n
First, the IRS is interested in your work, or more appropriately, the fruits of
\nyour labor. If you make more than $600 from any one job, the producer who
\nhired you is obligated to file a Form 1099 with the IRS. This lists all money
\nyou earned on the freelance job along with your social security number and
\naddress. Failure to report income could be hazardous to your freedom and
\nfuture.<\/p>\n
Keep good records. Know who you worked for and when. Know precisely how much
\nyou were paid and get be sure to invoice for jobs completed. Even if you were
\npaid in cash, you must keep good records.<\/p>\n
Most producers today are faced with considerable liability burdens. Insurance
\nrates for production have gone up dramatically. If you are independently
\ninsured as a freelancer you may be able to find more employment. This is
\nbecause your insurance reduces the cost normally paid by the producer to insure
\ncrew and equipment on a shoot.\tBe sure to discuss this with your insurance
\nagent before telling a producer you are covered. It is vitally important that
\nyou have special coverage for your liabilities when working — equipment
\ndamage, injuries to you or other parties, etc.\tHaving such insurance coverage
\nis a good idea anyway.<\/p>\n
If you do not have special coverage you may be asked to sign a waiver of
\nliability. I get one from all of my freelancers who do not have insurance
\ncoverage of their own.\tIt simply states you will not hold the producer or
\nclient liable for any accidents that occur during the production. It may also
\nstate that the freelancer will be held responsible for any and all damage and
\ninjuries that occur while he or she is operating or responsible for equipment
\nduring the duration of a production.<\/p>\n
I always get a signed letter of agreement from freelancers prior to an
\nassignment. This letter spells out the terms of payment, when and where the
\nwork is to be accomplished, the duties and responsibilities of the freelancer
\nand other details (dress code, safety, travel, insurance, etc.) that may be
\nnecessary. This way the producer and freelancer know precisely what is to be
\nexpected during a job.\tThe successful producer lives by the motto “NO
\nSURPRISES!”<\/p>\n
So should the successful freelancer.<\/p>\n
3. PREPARING FOR AN ASSIGNMENT<\/p>\n
I can tell precisely how professional a freelancer is by his or her interest in
\na project during the initial contact. Most of my most trusted freelancers are
\neager to prepare for an assignment.<\/p>\n
Doing one’s homework involves several things. For the production crew it means
\nreviewing the script and shoot list well in advance of the actual day of
\nshooting.<\/p>\n
For the creative workers it is important to have some understanding of the
\nclient — who they are, where they are from, what they do, who their customers
\nare, what their services or products are, and what their services and products
\ndo.<\/p>\n
I always have client literature available for my “eyeball” people – directors
\nand videographers. These people must be able to “see” the video production
\nfrom the very start. Of course, if I don’t write the script or produce the
\nproject, my scriptwriters and producers work with such resources first.<\/p>\n
Quite often there are previous films, videos or slide shows available that help
\ndefine the visual personality of a company or institution. These should be
\nreviewed before scripts or storyboards are prepared. Freelancers who can
\nidentify such traits such as logoes, packaging identities or other visual
\n“corporate signatures” are very valuable to me and other producers.<\/p>\n
It is also expected that the freelancer know the equipment that is going to be
\nused on the shoot. Often the producer packages a variety of rental equipment
\nfrom a variety of suppliers for a project. This means that all personnel who
\nwill handle equipment should be familiar with the technology used.<\/p>\n
I would rather have a freelancers say “I’ve never worked with a JVC 4900, but
\nI’ll get the book immediately,” than pretend he or she knows how to operate the
\nsame. Handbooks, directories and guides should be made available prior to the
\nshoot so freelancers can familiarize themselves with the machines that will
\ncapture the images desired.<\/p>\n
Most rental houses will provide the original guides on cameras, recorders,
\neditors, etc. and these resources should be reviewed.\tNothing will ruin your
\nreputation faster than messing up a shoot. If a director expects you to know
\nhow to operate an “Iki” or any other type of equipment you better be ready to
\nshoot efficiently on the day of production.<\/p>\n
Novices who tinker and fuss around a camera or recorder trying to get it to
\nwork usually have limited careers as freelancers. Know thy equipment!<\/p>\n
Freelancing can be a profitable and exciting way of making a living. I hope
\nthese few ideas help you and others discover what producers and directors look
\nfor and expect from freelancers.<\/p>\n
A good friend has been a professional freelancer for more than 18 year in St.
\nLouis – which is known to be a tough market. He has shared some of his
\nexperiences with me and and after more than 18 years his mother, to this day,
\ntells all of her friends that her son makes a living as a video “freeloader.” I
\nhope your freelancing prospers and grows.<\/p>\n
Best wishes.
\nDouglas Arnold (76456,2630)
\nExecutive Producer
\nQuantum Productions
\nSuite 320T
\n225 S. Meramec
\nSt. Louis, MO 63105<\/p>\n
