12 Know your Union

ImagineFX - - Artist Insight Film Art Secrets -

Even af­ter you have the port­fo­lio ready, af­ter you know you have the work­flow down, many artists still have trou­ble get­ting their first gig. If we're talk­ing big pro­duc­tions, get­ting that first job might be tough, and I rec­om­mend ap­proach­ing ei­ther a VFX com­pany or look­ing for smaller, in­de­pen­dent films. If you're hop­ing to work on big-bud­get films in the US, specif­i­cally in Los An­ge­les, then there's a film guild/union (IATSE Lo­cal 800) that you're re­quired to join be­fore you can work on any ma­jor mo­tion pic­ture. There are sev­eral ways of gain­ing ad­mit­tance: you can get ac­cepted through work­ing a full 30 days on a union project, then sub­mit­ting an ap­pli­ca­tion; a pro­duc­tion de­signer can also spon­sor you if they want you on a pro­duc­tion; and there's a grand­fa­ther clause stip­u­lat­ing that if a show you're work­ing on gets unionised,you can ap­ply for union membership dur­ing the tran­si­tion. That said, it's still hard to get in the guild, and many com­pa­nies will keep work­ers on for 29 days, and not spon­sor them at all. In the end, be­ing part of the Lo­cal 800 union is a huge help to artists work­ing within it, guar­an­tee­ing great rates, and pro­vid­ing health­care.

Even af­ter you have your port­fo­lio ready, many artists still have trou­ble get­ting their first gig

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.