{"id":8522,"date":"2015-12-14T08:10:10","date_gmt":"2015-12-14T08:10:10","guid":{"rendered":"http:\/\/dev.wordpress\/?p=8522"},"modified":"2015-12-14T08:25:07","modified_gmt":"2015-12-14T08:25:07","slug":"7-ways-to-create-your-own-opportunities-in-film-and-tv","status":"publish","type":"post","link":"https:\/\/www.adorama.com\/alc\/7-ways-to-create-your-own-opportunities-in-film-and-tv\/","title":{"rendered":"7 Ways to Create Your Own Opportunities in Film and TV"},"content":{"rendered":"

The fact that anyone can shoot, edit and distribute<\/a> a movie or video project these days has completely changed the landscape for professionals. Not too long ago the only way to get your hands on a quality camera was by doing it in a professional setting or during school. Now the cameras that come in a standard smart phone are capable of capturing content that can be distributed on the big screen.<\/p>\n

\"\"<\/p>\n

In a lot of ways this is a great thing, because it\u2019s opened up opportunities for creative people that they never would have had otherwise. However, there\u2019s a lot to consider with such developments. These changes have empowered creatives, but doing so has flooded the market. I\u2019ve heard horror stories about amateur crews creating great work for nothing because they didn\u2019t know any better, and many VFX artists are struggling to find opportunities that will allow them to make a living at their craft. The \u201crace to 0\u201d is a real concern in the industry, especially for corporate and one-off video projects.<\/p>\n

None of that is reason to despair though, because the availability of these tools means you can find and create your own opportunities inside and outside the industry. That means everything from pitching companies to submitting passion projects into contests to telling your relatives about the work you can and want to be doing. Whether they realize it or not, companies of all sizes need content for their social presence which presents a unique opportunity for the diligent creative. All of which is in addition to the more traditional freelance opportunities that are out there.<\/p>\n

How do you find, create and develop these opportunities? Here are just a few things to consider as you start.<\/p>\n

Creators need to create<\/strong><\/p>\n

I\u2019ve taken my fair share of writing classes, and some were taught by amazing teachers, while others were being led by someone who just needed a paycheck. The one thing all of those teachers had in common was that above all else, they all believed in the principle that writers need to write. It didn\u2019t matter what they were writing about. It didn\u2019t matter what format. It didn\u2019t matter how long. All that mattered was that we make time to write, which would at the very least help us perfect our craft, while also enabling us to potentially create something truly fantastic.<\/p>\n

The same is true for film and TV professionals. You might not find the material associated with a paid job especially inspiring, which means you need to stimulate your creativity in other ways. Coming home after a long day of work and essentially going back to work is a tough thing to do, but it can also be invigorating. It can allow you to apply the lessons learned that day in a new and powerful way.<\/p>\n

When you aren\u2019t working there\u2019s no excuse not to devote some time to a passion project. Whether that\u2019s something you\u2019re doing all by yourself or as a collaboration with a group of people, the time you make and devote to such undertakings is far more important than the project itself. If the project doesn\u2019t turn out the way you want, you can quickly and easily move onto the next one, and if it does, you have something to showcase on a reel or in a contest.<\/p>\n

Even when you aren\u2019t working, you should always be working, because all of that effort is going to help directly or indirectly create an opportunity for you.<\/p>\n

Network with your peers<\/strong><\/p>\n

While your peers in the industry are ostensibly competing with you for the same jobs, the reality is far more nuanced. You shouldn\u2019t view peers as your competition, but instead see them as resources and support for your own career. They can help you with referrals or with simple advice, both of which can be invaluable.<\/p>\n

Of course you shouldn\u2019t be trying to source your peers to find out what companies or individuals are hiring them to go behind their back. Doing anything close to that will get you a reputation that will follow you everywhere. Instead, talk to them about general trends or tendencies that they\u2019re seeing, and explore what their particular market seems to be supporting. You should talk to them about what is and is not working for them, and share similar insights.<\/p>\n

It\u2019s also worthwhile to network with individuals that are in the industry but going for a very different type of job. If you\u2019re a cinematographer you should get to know someone who works consistently as an editor. If you\u2019re a VFX artist, try to make friends with a camera operator. People in those positions will always hear about needs in other departments, and having such a diverse set of skills across multiple people will help enable collaboration.<\/p>\n

Some professionals are naturally going to be busier than others, and the same person can\u2019t take on all of the projects that come their way. If you have good relationships with those sorts of people they can suggest you to the producer that was looking to hire them during a time when they\u2019re booked. There are countless stories of careers that started or took off because of this exact situation.<\/p>\n

When I was working at a post house I would always ask the artists we had on a job if they had friends who were looking for work, because I knew they weren\u2019t going to recommend anyone who would make them look bad. That means being one of those friends can be all you need to do to book a job. I\u2019ve also booked freelance work in production and post simply because people who <\/a>don\u2019t work in the industry know that I can \u201cdo camera stuff\u201d or \u201cedit things\u201d. The people you know don\u2019t always need to or want to know you full skill set, and that\u2019s fine, because just telling them basics of what you can do might be all it takes.<\/p>\n

There\u2019s a reason that \u201cit\u2019s not what you know, it\u2019s who you know,\u201d has become a clich\u00e9. The people you know can and will create opportunities for you with referrals or by simply telling you about what\u2019s happening. Being able to take advantage of such things can change your career for the better.<\/p>\n

Network with everyone else<\/strong><\/p>\n

It can sometimes be awkward to ask friends or casual acquaintances about opportunities they might know about or discuss the type of work you\u2019re pursuing. That said, it can also be an incredible way to find out what sort of options are out there. These sorts of conversations can get people thinking about a project or idea in whole different way, and that can ultimately be very beneficial to you.<\/p>\n

Cinematographers have been booked for trips to other countries to document missionary work because of someone they met at church, and editors have gotten jobs because someone in their family knew someone who knew someone. Obviously, the type of work you\u2019d accept depends on where you\u2019re at in your career, but those details can be part of the initial conversation. If you\u2019re just looking for work, telling everyone about what you can do is probably the best way to go, but if you want to be a bit more selective, talking to them about the type of work you do, and what you are looking for, would be a better way to go.<\/p>\n

In media and entertainment, people always talk about systematic nepotism, but the reality is that people want to work with people who are fun and easy to work with regardless of what industry they work in. There\u2019s a reason that companies of every size have programs which pay out bonuses for any employee who finds someone else that comes on board and stays with the company. Once you\u2019re in, no one cares how you got there.<\/p>\n

The reality is that everyone you meet has the potential to refer you for future projects, and while that\u2019s especially true for the people you meet in the industry, it\u2019s also true for the world at large. <\/p>\n

Diversify yourself<\/strong><\/p>\n

When I was hired to help run ProVideo Coalition<\/a>, I was given access to the entire Creative Suite from Adobe, and at the time it was a big deal. I was really only using the suite for Photoshop and Premiere, but access to programs like Audition and After Effects felt like it was too good of an opportunity to pass up. I learned both programs in my free time and that eventually led to paid freelance work. Obviously things have changed since then and everyone can access the entire suite though Creative Cloud these days, which just makes the point even more relevant.<\/p>\n

Professionals across the industry are being asked to do more on a given project, and that scales all the way up to the top. Editors who were used to working with a colorist now find themselves having to handle such duties, and cinematographers who previously could expect to have a few extra pairs of hands on set don\u2019t have nearly as much help. That means being able to handle multiple aspects of a project isn\u2019t just expected, it\u2019s required.<\/p>\n

Whether you\u2019re a craft editor whose sole focus is storytelling or a videographer who pitches their ability to handle a project from beginning to end, you\u2019d be doing yourself a disservice if you didn\u2019t make an active attempt to learn about the tools and processes which normally fall outside your purview. How valuable are you going to be to a client that is looking for an editor when you can also shoot the project? How important is it for a client to know that you can also help them with the accounting for a given project? These are things that matter to line producers and the people tasked with hiring. <\/p>\n

Granted, there\u2019s a danger of falling into the \u201cjack of all trades, master of none\u201d category when you tell someone that you can do anything and everything, but in the days of shrinking budgets and schedules, producers and employers are increasingly looking for people who can solve multiple problems. Telling and showing them what you can do is a powerful way to set yourself apart from the competition, and perhaps even increase your bid.<\/p>\n

Inquiring, pitching and following up<\/strong><\/p>\n

Blanketing companies or organizations with pitches isn\u2019t likely to be a successful strategy, as those messages probably aren\u2019t reaching the right people. Even if they are, they\u2019re prone to be marked as spam. This is where your network can be invaluable because the people you know can ensure those messages aren\u2019t going into a junk folder, but there are approaches you can take even if you don\u2019t have a direct contact.<\/p>\n

First and foremost, do your research. If you\u2019re going to pitch a company around what you can do for them, make sure you know what they do, so that you can effectively tie those two things together. If you see a company\u2019s digital strategy is lacking, you should have a specific idea around how the content and videos you want to create can and will help them. If you can\u2019t get specific in your first message or meeting, you\u2019ll lose their attention immediately. <\/p>\n

In terms of finding and getting in front of the right person, you can look through the contact page a company has listed to figure out who the best fit for your pitch is going to be. Unless the company is tiny, emailing the CEO probably isn\u2019t a good idea. However, emailing the marketing coordinator is a good place to start. Linkedin can also be an incredible resource as you can use it to ensure you\u2019re able to contact the right person.<\/p>\n

What\u2019s also important to remember is that even when you\u2019re submitting for a specific job or gig, you\u2019re pitching someone, and you need to approach it that way. Anyone who\u2019s responsible for doing the hiring on a production of any size is going to be busy, which is just one of the reasons they\u2019re unlikely to watch your entire reel<\/a>. That means they need to find something interesting and relevant very quickly, so you need to make sure you\u2019re giving them something that is both of those things. That might mean more work on your end if you have to customize a reel, but that\u2019s a worthwhile effort, isn\u2019t it?<\/p>\n

Regardless of whom you\u2019ve contacted or reached out to, make sure you follow up to any correspondence in an extremely timely manner. I realize that sounds like a given, but you\u2019d be shocked at how many people send out their links or proposals and then take their time with a reply.<\/p>\n

You\u2019re unlikely to receive a response to the majority of the pitches and inquiries you send out, but don\u2019t let that discourage you from following up with those people. You want to keep yourself at the top of mind with the folks you\u2019re contacting, and a quick message to find out your status never hurts. Just keep that correspondence brief. People often don\u2019t read the entire message from someone they know, so if you\u2019re going past two or three sentences in these sorts of messages, you\u2019re already going on way too long.<\/p>\n

There\u2019s a reason major studios don\u2019t accept unsolicited pitches, and you might find yourself running into companies or organizations that have this official or unofficial policy as well. If it\u2019s something you come across, do what you can to find and work through the official channels, and then take the exact same approach there. You never know what someone might be looking for, and an inquiry to find out can open up incredible opportunities for them and for you.<\/p>\n

Stay up to date<\/strong><\/p>\n

How do you approach pre-production? What\u2019s your favorite camera to use during production? What NLE do you prefer above the rest? Think about the tools you\u2019re using now, or the way you\u2019re using them. Now think about what you\u2019re going to do when you don\u2019t have them. That day is approaching.<\/p>\n

Granted, moving away from the tools you\u2019ve used for years is a gradual one, and I\u2019m not suggesting you won\u2019t be able to use other tools in their place. It\u2019s an important point to make though, because there are numerous professionals who hold onto the specifics of the tools they use or the approach they take. It always ends up hurting them, no matter how much they like those tools or how effective they are at using them.<\/p>\n

Professionals across every industry fall into the trap of believing in a single process or tool, and it can be damaging in a myriad of ways. First and foremost, the pace at which technology moves means that there\u2019s likely a more efficient approach or tool on the horizon, which means clinging to the thing you\u2019re using or doing makes you inefficient. After all, there were plenty of amazing SD cameras, but what would you say to a person who wanted to shoot or deliver in that format today?<\/p>\n

It\u2019s something I\u2019ve personally dealt with as we increasingly find ourselves living in a 4K world. I\u2019ll admit that when the technology first came on scene I wasn\u2019t exactly embracing it with open arms, but people far more experienced than me have argued that being able to capture content in the best way possible makes sense for today and for the future, and it\u2019s hard to argue with that position. Leaving aside arguments around how much the human eye can actually perceive, 4K represents an evolution in terms of acquisition and delivery, and that kind of development isn\u2019t something you can ever ignore.<\/p>\n

At a broader level, being overly familiar with one tool or so ingrained in a particular way of doing things means you\u2019ll never be able to see or understand how much else is out there in terms of your ability. If you can only do things one way, you\u2019ll only be able to produce a single type of work. That directly influences the amount of opportunities that are available to you.<\/p>\n

That\u2019s not to say you can or should embrace every change as it comes about, because then you\u2019re going to be upgrading firmware on a camera during the middle of a shoot or trying to install the updates to your NLE when you\u2019re in the middle of editing. Nonetheless, being open to and accepting of new tools and ways of doing things can mean the difference between work that is distinct and relevant, or something that just seems old and familiar.<\/p>\n

Plus, there\u2019s an inherent power in being able to tell a client that you\u2019re using the \u201clatest and greatest\u201d technology, just as there is in them knowing they can tell their colleagues that same thing.<\/p>\n

Be you<\/strong><\/p>\n

We all have professionals that we look up to, and it\u2019s been suggested<\/a> that authenticity is far more important than originality, which means we should all wear our influences on our sleeves. Whether or not you can actually \u201csteal\u201d something like a style is a bigger question, but it illustrates the need to be distinctive and bring your own perspective to a given project.<\/p>\n

One of my favorite illustrations of this was when DP Art Adams was participating in an AMA<\/a>, and someone asked him how they could be him. I\u2019ll quote him directly, because what he has to say is so concise and powerful\u2026<\/p>\n

Oh, you don’t want to be me. Be you. It’s much more interesting\u2026we make our living based on what we can do and our unique way of doing things. It’s important to be you, or whoever you turn out to be as you progress in your career, because that’s what people will pay for.<\/em><\/p>\n

It\u2019s not just about what people will pay for, obviously, but that\u2019s a huge factor in everything. The distinct ideas and identity that you bring to a project are what will ultimately guide your career development. You can certainly book a project based on an incredible pitch or because you happened to know the person who was doing the hiring, but the work is the ultimate barometer of whether you\u2019d get hired again, and whether or not someone wants you to apply your ideas and identity to their project.<\/p>\n

Not only that, but if someone is just looking for a person to run a camera or slap together an edit, they can find those sort of services online with a quick Google search. There are editors out there who will cut a spot for $5<\/a>. A quick scrub through your local craigslist posting will provide plenty of candidates for someone who can run whatever camera you happen to have, even if it\u2019s just the one on your smartphone. The democratization of production and post equipment means just about anyone can learn how to use these tools.<\/p>\n

That\u2019s bad for the people who just wanted to make a living in the industry, but it\u2019s good for creatives and artists who have something to say. They\u2019re the people who will be able to make a project distinct and memorable. They\u2019re the people that can and will be hired for projects that are designed to resonate with an audience. <\/p>\n

And that can all be because a person who might not have even been looking to start up a project saw an opportunity they couldn\u2019t pass up with a creative who was able to showcase their vision. <\/p>\n","protected":false},"excerpt":{"rendered":"

How do you maintain a career in film and television production? Here are some ways to create your own opportunities.<\/p>\n","protected":false},"author":178,"featured_media":18416,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[17798,639,17802],"tags":[],"class_list":["post-8522","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-electronics","category-how-to","category-televisions"],"acf":[],"yoast_head":"\n7 Ways to Create Your Own Opportunities in Film and TV | Expert photography blogs, tip, techniques, camera reviews - Adorama Learning Center<\/title>\n<meta name=\"description\" content=\"How do you maintain a career in film and television production? 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