Not that I'll stop shooting, but I am looking for different working conditions than 60 to 112 days of 12-16 hours.
Yes, I know. It's a dream. And I don't wanna teach too much...
But seriously, the hours kills off a lot of fun, and eventually it is sobering to realize that this is an industry, even though "art" of some sort is the driving force for many of us.
So I say no to a lot of work and try to find my way into a more liveable work/family total thingy.
A bit late unfortunately...
12 on 12 off is a good start for that.
I have been in this business for 25 years, I've almost fallen asleep at the wheel several times in my younger days. Now I insist on a room or a driver as dying for hollywood is a really stupid way to die.(not that there's a smart way, although old age might be a good one).
Safety is important, don't let the glamour of the job get you killed. I'm not even going to bring up riding in the back of a pickup or hanging out of a helicopter.
for your perusal: http://hd24.com/page44/page18/page18.html
There is security and life priorities... Both counts :) And both deals with the comfort and danger of living.
10 hour days should be the norm.
However, if I were working on a film like "Blade Runner" or some other favorite film
then 12 or 14 hours might be slightly okay.
and there we go..... the above post is why we are working 14+ hour days.
people, you need to draw a line in the sand and say no more...... 14 hour days are not ok.
in my case, i have drawn the line and make it very clear right from the start things will get dark at 12 hours.
hire me, dont hire me but thems the rules.
For every crew member in LA that doesn't want to work, there are 1000 to replace him/her. As long as the film business is a desirable place to work, this will always be the case. The power is in the producer's hands. The only way things will change is if the government steps in (which is often not a good thing), or if the unions step up. But even if the unions demand change, the low budget productions, where things can get really bad, and often crew aren't even financially compensated for it, will not get any benefit.
I'm not a player in "the Industry", but judging from the small-scale jobs I've shot and acted in, I would much prefer a cast and crew that isn't exhausted, distracted, fatigued or otherwise not there for any reason. It saves a ton of blown shots and speeds up the whole process when the team is on time and on task, and I don't have to repeat what I ask them to do, or remember their lines for them.
I'd schedule for ten with 2 hours for contingency. (reshoots, equipment or tech issues, etc.) If we're out early, awesome.
. . . in a perfect world . . . .
The great cinematographer Haskell Wexler did an award winning film Who Needs Sleep, inspired in part by the terrible tragedy of assistant cameraman Brent Hershman, who fell asleep while driving home with that day's footage from Pleasantville. Horrible story. People who work in all aspects of film & TV production -- documentaries, reality shows, scripted dramas, sound, production, and post -- are all affected by this.
I've personally driven off the road a couple of times but caught myself before there were any serious problems, coming home from a 16 or 18-hour post-production shift. I had a few years where I worked one 24-hour day every week, separate from my usual 10-12 hour days. Our issue in post is that we get really addicted to the money. But after awhile, you realize the time spent away from friends and family, the stress, and the health risks are too great. As Han Solo said: "No reward is worth this!"
I agree with David Mullen: working 12-hour days for months on end can be extraordinarily tiring. I find it rough just to work 7 or 8 weeks on a feature, even with days off and occasional short days. And indies are worse, especially when you encounter neophyte producers who have no clue over issues like short turnaround, the greater risk for mistakes once actors and crew are tired (like over 15-16 hours), plus the problem of travel time.
Haskell's film is quite sobering, and more producers, studios, networks, and crews should be keenly aware of the risks involved.
i just got off a long shoot myself. each day was OT, and kept pushing the call the day after the next, until it became a overnight shoot. if you include me waking up early to beat the rush hour traffic to get to set (the later the call the worse the traffic got, and the earlier i had to wake up, making my 8 hours of sleep more like 5) and than the final downloads, transcodes, and prepping hard drives after wrap. i did 21 hour day by the time i got home on the last day of shooting.
i'm in my mid 20's and would be considered a young guy, but i'm not handling these late nights like i used to when i was 22, and it's only gonna get worse. i know it, and i feel it. and i openly admit, i had a really hard time driving home. i had nowhere to crash for the morning, and my car had to be off that lot. the only incentive for going through all that was all the OT was wracking up.
going for a 14 hour day before double OT starts just decreases the incentive to much so much energy into it. it can be a moral killer, and in the end, leads to even more abuse because the OT penalty doesn't hurt as much anymore. to take more of that away is gonna lead to even more incidents because a 16 hour day will be the new norm. you get on episodic, and do that, plus how you are always playing catch up in the hours, and how friday always turns into saturday late morning because of all the OT and catch up turn arounds...
it only gets worse from there...
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