Leaving the comfort and security of a corporate gig to become your own boss can be frightening.

This week we walk with Steph Cullen, freelance filmmaker, on her transition from corporate life to freelancing. In this episode, she talks about creating legal contracts, insurance, and her favorite nonprofit.

Listen to hear how Steph has transitioned from corporate life to becoming a freelancer.

Key Points:
1:30 - How she got started
3:39 - Why she left the security of her corporate job
8:27 - Creating legal contracts
11:55 - Favorite gear
15:14 - Types of projects she takes on
16:06 - Something going wrong
20:30 - OMG Female Filmmakers
23:02 - Favorite Nonprofit to work with
24:48 - Highlight and lowlight of freelance experience

Links:
Nick Richey Episode
University of Idaho Law Clinic
Art List IO
Freshbooks
Website

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If you have a passion for metal artwork, you might be interested in becoming a props fabricator.

This week Eric Anthony Leong, Props Fabricator, shares how he started in the industry. Eric's film resume includes Black Adam, Till, and Marvel. In this episode he talks about venturing into the industry, working on set, and setting rates.

Listen to hear how you can turn your passion for creating metal artwork into a film career.

Key points:
1:30 - Becoming a prop fabricator
7:29 - Venturing into the film and television world
11:03 - Getting details on how the props are being used
11:39 - Communicating with different departments
14:10 - Who eats the cost when someone makes a mistake
16:41 - Working on set
20:15 - Union requirements
23:08 - Setting rates
28:30 - Something going wrong with materials
30:10 - What is overlooked
34:32 - Tools of the trade
37:50 - Why he's in the industry
46:06 - Average build time

Links:
YouTube
Facebook
Instagram
Website

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In 10 days, we'll be having our 2nd annual virtual mixer on the Gather platform! Go to @practicalfilmmaker on insta or thepracticalfilmmaker.com to sign up!

Filmmakers/Showcase:

-John Quinn - Editor (Horror genre, The Chosen)
-Nick Richey - Indie Writer/Director of 1-800-HOT-NITE
-Alex Goetz - outdoor filmmaker (NatGeo, BBC)
-Nina Vallado - Documentary filmmaker (Student Academy Award finalist)
-Theo Brown - Indie Writer/Director - Feature
-Lenny Leonardo - Indie Writer/Director - Series
-Sydney Tooley - Writer/Director (Sun Moon with Sony Affirm)

Giveaways/Prizes include:

-1 TB NVMe SSD
-$30 Film Tools Gift Card
-Gaffe tape galore!
-Practical Filmmaker swag!

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Should you skip film school?

This week Nick Richey, indie writer & director, shares how he went from an economics major in college to making feature films. In this episode, Nick tells how he skipped film school, making his latest project 1-800-Hot-Nite, and paying himself as a director.

Listen to learn if film school is right for you.

Key points:

1:24 - How he got started in the industry

6:45 - First feature film

9:25 - No formal education 

11:34 - Something going wrong 

15:14 - Investing in your career 

18:54 - Latest film 1-800-Hot-Nite

23:30 - Favorite day on set

25:23 - What went wrong on set

32:50 - Screening went wrong

34:24 - Creating coming-of-age films

36:32 - Next project

38:28 - Making a distribution deal

48:34 - Paying yourself 

54:06 - Favorite gear

57:29 - How to trust your guy on casting

Links:

Low Low Trailer

1-800-Hot-Nite Trailer

Studio Binder

Studio Binder YouTube

Shot Deck

Atlas Lens

Twitter

Instagram

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When starting as a freelance producer, you will make mistakes, and it's okay.

This week Bryan Fellows, a freelance producer for Nascar, Nat Geo, and Disney+, shares how he overcame his mistakes from starting out as a freelance producer. In this episode, he talks about his career pivot, getting started in producing commercials, and the tools he uses to streamline his workflow.

Listen to avoid easy mistakes when starting out as a freelance producer.

Key Points:
1:36 - How he started
4:18 - Wanting to Direct
7:10 - Starting own production company
11:54 - When a project didn't work out
15:01 - Pivot point to producing commercials
27:22 - Getting started into the commercial world
31:37 - Learning on the job
35:12 - New software to help producers
36:48 - Turn around expectations
39:30 - Bidding on a job
42:06 - How to quote for his time
45:41 - Favorite tools

Links:
Episode 6
Where Spot
Video Village
Hot Budget
Movie Magic
Set Hero
Studio Binder
Frame IO
Wrapbook
Notion
Website
Instagram

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If you have a passion for designing and like to manage large projects, becoming a set designer might be for you.

This week Cece Destefano, Production Designer, for Alias, Empire, and They/Them, shares how she got started in the industry.  In this episode, she talks about how to get your big break, her favorite gear, and how to get started.

Listen to learn how to become a set designer for TV and feature films.

Key points:
1:26 - How she got started
6:03 - How to get your big break
11:08 - Big break
19:11 - Set structure for the production designer, set decorating, and art department
23:15 - Favorite set to build for Alias
29:07 - Top 5 resources 
32:23 - Favorite gear
38:17 - Pay rate
40:39 - Something going wrong
43:31 - Budgeting for construction costs
47:52 - How to get into the industry

Links:
IMDB
Website
Artemis Pro
Spectro
Bosch Laser Measure 
Sun Seeker
Scriptation 

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If you love fashion and making films, check out the Wardrobe Department.

This week we have Ashley Heathcock to share how she went from working for a local designer in New Orleans to designing costumes for TV shows and movies. In this episode, she talks about how she got started, the rules of the trade, and joining the costume guild.

Ashley has worked on Magnum PI, Bright, and Dawn of the Planet of the Apes.

Listen to learn how you can turn your love for fashion and filmmaking into a full-time gig.


Key points:
00:00 - Intro
2:05 - Getting started
5:49 - Wardrobe Dept terms
7:15 - Modifying and creating pieces
8:46 - What happens to costumes after the shoot
10:27 - Rules of the trade
11:21 - Aging and dyeing process tips
16:34 - Difference between a bad and good job
18:10 - How to get started
21:30 - How early in the process are you brought in
22:12 - Pay rate for costumers
22:44 - Prepping costume truck
26:21 - Expectations for pay
27:55 - What does it take to get into a union
32:38 - Getting started in the union
33:44 - Finding other costume designers
35:04 - Favorite Gear
39:35 - Something going wrong
43:55 - Weaving personality into the design
44:41 - Best places to get materials

Links:
IMDB
Local 478 Union New Orleans
Costume Desing Guild
Sync on Set
Mood Fabrics
Connect on Instagram
Website

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What happens when you question your career in film?

This week Corey and Emily Critser share their journey of leaving LA for the South East and launching a commercial photography business. In this episode they share what skills transitioned from film to photography, bidding on jobs, and setting their rates.

Listen to hear how their risk paid off.

Key points:
1:09 - Transitioning from filmmaking to commercial photography
8:37 - Blending and photo and video projects
12:50 - What skills transitioned from film to photography
16:14 - Bidding jobs
22:23 - Working with an agent
26:35 - Setting rates
31:22 - Full-day shoot price range
34:45 - Favorite gear
37:37 - Something going wrong
42:59 - Managing work-life balance

Links:
Lanewood Studio
Instagram

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Don't be tempted to jump straight into DPing your first gig.

This week Bryan Folwer, DP & Steadicam Op, shares how you can get started as a DP. In this episode, he talks about setting your daily rate, unions for DPs, and skills needed to be a DP other than knowing how to light.

Listen now to learn how you can get paid to be a DP.

Key points:
1:55 - How he got started
7:04 - Question to ask a DP when hiring
12:02 - Daily rate when getting started
18:40 - BBC Documentary
20:25 - Favorite types of shoots
23:27 - Unions for DP's
25:27 - Setting up benefits
30:41 - Favorite Gear
32:30 - Using a steady cam
34:29 - New gear
41:58 - Something going wrong
46:21 - How to get started as a DP

Links:
Fowler Films
Covert Coffee
Prolycht Orion 300 FS Kit
Godox Parabolic 128 Reflector Kit

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Connect with the Practical Filmmaker
Follow The Practical Filmmaker on Instagram
Watch more episodes on YouTube
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If you give your art department the time and resources they need, they can turn a flat set into a dynamic space that will transport your audience into the world you’re trying to convey.

This week Clifton Chandler, Production Designer, shares his experience from working in the art department and what resources producers need to provide to make their sets look amazing. In this episode, he talks about the must have basics, how to stay organized, and how to hire for the art department.

Listen now to learn how to better work with your production designer.

Key points:
3:01 - Getting started in the art department
5:00 - Take-aways after first project
7:14 - Must-haves
10:08 - How to stay organized
12:05 - What to look for when hiring the art department
14:55 - Day rates for art department
18:31 - What if director doesn't like your work
26:17 - Rules to live by for art department
29:33 - Favorite gear
32:23 - Something going wrong
37:35 - Why the art department

Links:
Instagram
Website

Connect with the Practical Filmmaker
Follow The Practical Filmmaker on Instagram
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Find more filmmaking resources

Connect with the Practical Filmmaker
Follow The Practical Filmmaker on Instagram
Watch more episodes on YouTube
Find more filmmaking resources