newsismylife
Active member
Really folks, how hard is it to get into the Networks? Are the "good old days" over, and how's the pay? Is the work still rewarding?
Network Life ... Is it worth it?
- Thread starter newsismylife
- Start date
Network Blues
Networks:
The Good
Money Good
The Bad
Usually based in astronomically high cost city
The Good Travel to cool places
The Bad
Get stuck in some lame places on really lame or beat to death stories
The Good
Great overtime
The Bad
You work more than you live, don't get to really enjoy your money, or when you take an expensive vacation somewhere, the first week is just detox from the stress
The Good
Nationally Known reporters
The Bad
Divas, crybabies, whiners and untalented hacks
The good
People working hard for a national product
The Bad
People who have never worked anywhere except network because network hires straight out of school, people who waste resources because they've never had to be creative with them (as in local), people who wouldn't know how to handle spot news if it bit them in the ass....
The BEST
Having your work seen by the globe
The WORST
Being told how to shoot and edit by people whose only experience is INTERN at said network
Any questions?
Networks:
The Good
Money Good
The Bad
Usually based in astronomically high cost city
The Good Travel to cool places
The Bad
Get stuck in some lame places on really lame or beat to death stories
The Good
Great overtime
The Bad
You work more than you live, don't get to really enjoy your money, or when you take an expensive vacation somewhere, the first week is just detox from the stress
The Good
Nationally Known reporters
The Bad
Divas, crybabies, whiners and untalented hacks
The good
People working hard for a national product
The Bad
People who have never worked anywhere except network because network hires straight out of school, people who waste resources because they've never had to be creative with them (as in local), people who wouldn't know how to handle spot news if it bit them in the ass....
The BEST
Having your work seen by the globe
The WORST
Being told how to shoot and edit by people whose only experience is INTERN at said network
Any questions?
1: Yes, are you a network guy? I assume you are.
2: Is it constant travel?
3: Is the work satisfying on any creative level?
thx in advance for the response
104imdirect
Well-known member
NetLife
I just started a network gig last month - so I'm still in the honeymoon phase. But here's what I've found so far, coming from a top 25 O&O...
Once your colleagues see that you know what you're doing, they'll start to trust you.
Acquiring the tools to do your job properly is much less of an issue than it was in local (my last local wouldn't order gear in a timely fashion, give me a cell phone, print me business cards or process repairs quickly. Here, ask and ye shall receive - quickly.)
It's easier to get time off @ the net than it was in local. However, when they call, you go.
The travel isn't too ridiculous - and they try to get you home for the weekend if at all possible (it's a M-F gig.) It’s nice to see the world on someone else’s dime.
When you travel, you are VERY well taken care of. Field Producers, Runners, Fixers and support staff are there to make sure you have what you need when you need it – and most of them are great. If you’re locked down for 12 hours straight, there is someone to get you food and drink and cover you for potty breaks.
There are some small towns with pretty crappy hotels, but when they can put you up somewhere nice, they will.
Money = awesome.
Are the golden days over? I don’t think so. There are those surpassing the 200k mark, and the new guys like me may never catch up – but we’re well compensated. Once you factor in the OT, bonuses, per diems and other coin like nightime differentials and quick turns, it's around what the local NYC guys are pulling. Both the actual benefits and fringe benefits are fantastic.
Is it hard to get to the net? It’s 90% what you can do and 10% who you know. Networking is a big part of getting where you want to go in this business. The most valuable thing you have is your reputation - and it's a small industry.
Is it satisfying creatively? You may not be shooting everyday. You may not be editing everyday. Some days, you’ll shoot and edit your own packages – and those are great days. They encourage enterprising. Again, if you do good, solid work, they’ll start to trust you and give you more freedom. It's nice to not be running out on every shooting or warehouse fire. At the same time, hanging around outside courthouses gets old quickly.
I just started a network gig last month - so I'm still in the honeymoon phase. But here's what I've found so far, coming from a top 25 O&O...
Once your colleagues see that you know what you're doing, they'll start to trust you.
Acquiring the tools to do your job properly is much less of an issue than it was in local (my last local wouldn't order gear in a timely fashion, give me a cell phone, print me business cards or process repairs quickly. Here, ask and ye shall receive - quickly.)
It's easier to get time off @ the net than it was in local. However, when they call, you go.
The travel isn't too ridiculous - and they try to get you home for the weekend if at all possible (it's a M-F gig.) It’s nice to see the world on someone else’s dime.
When you travel, you are VERY well taken care of. Field Producers, Runners, Fixers and support staff are there to make sure you have what you need when you need it – and most of them are great. If you’re locked down for 12 hours straight, there is someone to get you food and drink and cover you for potty breaks.
There are some small towns with pretty crappy hotels, but when they can put you up somewhere nice, they will.
Money = awesome.
Are the golden days over? I don’t think so. There are those surpassing the 200k mark, and the new guys like me may never catch up – but we’re well compensated. Once you factor in the OT, bonuses, per diems and other coin like nightime differentials and quick turns, it's around what the local NYC guys are pulling. Both the actual benefits and fringe benefits are fantastic.
Is it hard to get to the net? It’s 90% what you can do and 10% who you know. Networking is a big part of getting where you want to go in this business. The most valuable thing you have is your reputation - and it's a small industry.
Is it satisfying creatively? You may not be shooting everyday. You may not be editing everyday. Some days, you’ll shoot and edit your own packages – and those are great days. They encourage enterprising. Again, if you do good, solid work, they’ll start to trust you and give you more freedom. It's nice to not be running out on every shooting or warehouse fire. At the same time, hanging around outside courthouses gets old quickly.
F4 Fan
Well-known member
Something to strive for - even if you stay local.
Not everyone working at a network is making 150-200k a year. Even with OT, meal penalties and a 35 hour week would I come anywhere close to that. But it beats working for a local. No house fires to chase, no dead baby knocks, few divas to work with, field producers who actually know how to work in the field. If I need equipment I’ve got a company card, plus very good benefits. It’s the benefits and security for my family that are the big pluses in working for a network. That and most weeks are M-F.
If we have to cover a big event there are no second thoughts about hiring another crew, it’s pretty standard. That way I don’t have to bounce back and forth between a live-shot and shooting the event or b-roll. Same thing goes for big interviews where we need an extra camera. I provide what I can equipment-wise, and the other crew does most of the heavy lifting.
I travel to big events, sometimes on very short notice, but in general we hire freelance crews when the editorial side of things has to travel out of town. We still have a bureau that has to be staffed for guest live-shots, and those normally fall into my lap.
As for shooting – not that much different from local news, except when it comes to lighting. Live-shots and stand ups almost always have a silk overhead with at the very least a reflector to bounce some light in; not at all unusual to have an HMI up as well. Same thing when lighting interviews. If it’s a really important talking head 3-4 lights are standard. The good thing is that I’m (and yes I have to do sound, lights and camera solo) afforded the time to at least get things set up. There isn’t always time to tweak things, which is why it’s good to have a lighting formula of sorts to follow.
But as has been mentioned. There are days when there isn’t a lot to shoot. Interviews come in on fiber, b-roll comes from file – my only contributions some days are a stand-up or some screen shots. Those days are killer because I’d much rather be in the field even if we are waiting outside some hotel hoping to ambush an interview.
Of course the really gratifying thing is that the stories we produce are seen not only nationally, occasionally on some of the top-rated network news shows, but also internationally as well. Of course the downside is that there is a tremendous amount of pressure, there is really no room for error at the network level.
Not everyone working at a network is making 150-200k a year. Even with OT, meal penalties and a 35 hour week would I come anywhere close to that. But it beats working for a local. No house fires to chase, no dead baby knocks, few divas to work with, field producers who actually know how to work in the field. If I need equipment I’ve got a company card, plus very good benefits. It’s the benefits and security for my family that are the big pluses in working for a network. That and most weeks are M-F.
If we have to cover a big event there are no second thoughts about hiring another crew, it’s pretty standard. That way I don’t have to bounce back and forth between a live-shot and shooting the event or b-roll. Same thing goes for big interviews where we need an extra camera. I provide what I can equipment-wise, and the other crew does most of the heavy lifting.
I travel to big events, sometimes on very short notice, but in general we hire freelance crews when the editorial side of things has to travel out of town. We still have a bureau that has to be staffed for guest live-shots, and those normally fall into my lap.
As for shooting – not that much different from local news, except when it comes to lighting. Live-shots and stand ups almost always have a silk overhead with at the very least a reflector to bounce some light in; not at all unusual to have an HMI up as well. Same thing when lighting interviews. If it’s a really important talking head 3-4 lights are standard. The good thing is that I’m (and yes I have to do sound, lights and camera solo) afforded the time to at least get things set up. There isn’t always time to tweak things, which is why it’s good to have a lighting formula of sorts to follow.
But as has been mentioned. There are days when there isn’t a lot to shoot. Interviews come in on fiber, b-roll comes from file – my only contributions some days are a stand-up or some screen shots. Those days are killer because I’d much rather be in the field even if we are waiting outside some hotel hoping to ambush an interview.
Of course the really gratifying thing is that the stories we produce are seen not only nationally, occasionally on some of the top-rated network news shows, but also internationally as well. Of course the downside is that there is a tremendous amount of pressure, there is really no room for error at the network level.
NEWSSHOOTER3
Well-known member
Sounds Interesting
That sounds interesting. Just a few questions myself-
Is is rewarding? I mean, do you get a feeling of satisfaction at the end of the day, or gig? Or, is it more often just "on to the next shoot"?
Having worked with a few really good writers, whom I miss dearly, I wonder about the talent pool? Do you feel that the writing matches what you shoot, quality wise? Storytelling or reporting?
Lastly, do you get burned out? Travel is good... until you REALLY just want to sleep in your own bed! And, do you get to "appreciate" the places you get to go, or is more in the afterthought?
Thanks for the insight!
That sounds interesting. Just a few questions myself-
Is is rewarding? I mean, do you get a feeling of satisfaction at the end of the day, or gig? Or, is it more often just "on to the next shoot"?
Having worked with a few really good writers, whom I miss dearly, I wonder about the talent pool? Do you feel that the writing matches what you shoot, quality wise? Storytelling or reporting?
Lastly, do you get burned out? Travel is good... until you REALLY just want to sleep in your own bed! And, do you get to "appreciate" the places you get to go, or is more in the afterthought?
Thanks for the insight!
Flaca Productions
Well-known member
it can be rewarding - yes. you learn to do YOUR job to the best of your ability - and you'll have some good help on your side: ability to get gear, time to set up, producers who know exactly what they want, etc. the flipside is that you sometimes need to be fast AND good.
you rarely shoot a piece front to back - so you just do your little part very well, knowing that it's going to be mixed in with a lot of other peoples stuff.
the talent pool is there - but its just like any other place: you'll find those who you really click with and appreciate their work - others, not so much...
do you get burned out? sure. travel these days is HARD - especially if you're traveling with a lot of gear. i traveled a ton pre-9/11 and its physical work. post-9/11 has a lot more hoops to jump through. i moved with 12-15 cases usually: a full magliner, for sure - sometimes more, sometimes less. but you'll learn how to do it efficiently and make it as easy on yourself as possible.
it's fun when you get to a shoot or location and know you're part of an operation that is doing it right, but f4 is right - there is pressure. for example: a very typical day may only consist of one interview or one standup or one live hit. so...if that's all you're doing in one day, it had better be good. (you just can't let it bum you out when someone elses poor performance drags your stuff down)
you rarely shoot a piece front to back - so you just do your little part very well, knowing that it's going to be mixed in with a lot of other peoples stuff.
the talent pool is there - but its just like any other place: you'll find those who you really click with and appreciate their work - others, not so much...
do you get burned out? sure. travel these days is HARD - especially if you're traveling with a lot of gear. i traveled a ton pre-9/11 and its physical work. post-9/11 has a lot more hoops to jump through. i moved with 12-15 cases usually: a full magliner, for sure - sometimes more, sometimes less. but you'll learn how to do it efficiently and make it as easy on yourself as possible.
it's fun when you get to a shoot or location and know you're part of an operation that is doing it right, but f4 is right - there is pressure. for example: a very typical day may only consist of one interview or one standup or one live hit. so...if that's all you're doing in one day, it had better be good. (you just can't let it bum you out when someone elses poor performance drags your stuff down)
104imdirect
Well-known member
I get some satisfaction
Is it onto the next shoot?
Nope. I find that I got drained much faster chasing fire trucks, car ax's and police cars. Those days where you got into work and had to go do a live shot about the rising price of cheese and the effects it would have on the pizza industry took it out of me faster than a ten minute interview on Capitol hill (that I get 15 minutes to set up an HMI and some ND on a window.) I never had this much time to light in local - but I did the best I could.
The writing is better at the net with a few exceptions. I came from a shop with several EXTREMELY talented writers. Often in my current situation a correspondent will get information like wire copy sent to their blackberry while we're in the car on the way to the location and have to write the package without seeing the video at all (though some do call to find out if there are any really great shots to write to.) If we're shooting the whole taco, it's a team effort to put it together (assuming we're in the same vehicle) just like local. Having said that, the script has to get through a slew of producers before we can cut. I find that there is less "dumbing down" in terms of writing at this level. The goal is to turn out the strongest story possible, so everyone does whatever it takes and whatever they can.
I like the travel. I was recently in Louisiana for several days and got a night of downtime in New Orleans - a city I'd never been to. So as best I can tell - there is occasionally time to appreciate where you are and do a little exploring without the gear. I've heard that it's more difficult to move around with equipment post-9/11, though I travel with 17 checked cases (I carry on my cam and a backpack) and haven't had any problems yet. (The last time I flew, the checked bags cost almost 2 grand extra!) My cases are all logo'd, and every now and then when I get home I'll find a little slip informing me that TSA has inspected a box of cable or an IFB kit. No big deal. I'm sure I'll flip the freak out the first time an airline looses a bag.
Is it onto the next shoot?
Nope. I find that I got drained much faster chasing fire trucks, car ax's and police cars. Those days where you got into work and had to go do a live shot about the rising price of cheese and the effects it would have on the pizza industry took it out of me faster than a ten minute interview on Capitol hill (that I get 15 minutes to set up an HMI and some ND on a window.) I never had this much time to light in local - but I did the best I could.
The writing is better at the net with a few exceptions. I came from a shop with several EXTREMELY talented writers. Often in my current situation a correspondent will get information like wire copy sent to their blackberry while we're in the car on the way to the location and have to write the package without seeing the video at all (though some do call to find out if there are any really great shots to write to.) If we're shooting the whole taco, it's a team effort to put it together (assuming we're in the same vehicle) just like local. Having said that, the script has to get through a slew of producers before we can cut. I find that there is less "dumbing down" in terms of writing at this level. The goal is to turn out the strongest story possible, so everyone does whatever it takes and whatever they can.
I like the travel. I was recently in Louisiana for several days and got a night of downtime in New Orleans - a city I'd never been to. So as best I can tell - there is occasionally time to appreciate where you are and do a little exploring without the gear. I've heard that it's more difficult to move around with equipment post-9/11, though I travel with 17 checked cases (I carry on my cam and a backpack) and haven't had any problems yet. (The last time I flew, the checked bags cost almost 2 grand extra!) My cases are all logo'd, and every now and then when I get home I'll find a little slip informing me that TSA has inspected a box of cable or an IFB kit. No big deal. I'm sure I'll flip the freak out the first time an airline looses a bag.
NEWSSHOOTER3
Well-known member
Man, that's great stuff! Thanks for the insight!
Hiding Under Here
Well-known member
I'd like a little clarification from the responders to this thread -- if they care to give it. I am reading this thread with interest and wondering if you folks are employees of the networks, ABC, CBC and NBC and shooting for their national news broadcasts. Or if you are working for the O&Os on the local level. Or if you are working in a capacity I haven't mentioned. I'd also like to know if you work with a sound tech. 104imdirect mentioned carrying 17 cases. Are you doing that alone? Or with a partner?
Thanks
Thanks
Shootblue
Well-known member
I think it's insightful as well.
Based on my experiences and conversations, I'm not sure that there is enough emphasis on getting it right the first time everytime. You really have to know all facets so well that you can't screw it up. You have to maintain a confidence about what you are doing even when you don't know.
Sometimes you have to be the a$$hole too.
If you are in love with 12 edits in 15 seconds and unneeded nat sound pops, you probably won't enjoy it either.
Based on my experiences and conversations, I'm not sure that there is enough emphasis on getting it right the first time everytime. You really have to know all facets so well that you can't screw it up. You have to maintain a confidence about what you are doing even when you don't know.
Sometimes you have to be the a$$hole too.
If you are in love with 12 edits in 15 seconds and unneeded nat sound pops, you probably won't enjoy it either.
F4 Fan
Well-known member
The good thing about travel - local crews
Tom,
I work for CNBC, so besides that network the footage can air on MSNBC, News Channel, Nightly, The Today Show, the CNBC web-site, CNBC Asia, as well the local O&O which we are based out of.
As far as a sound tech – I have worked twice with one in 3 plus years on this job. So yes when it comes to sound I’m pretty much on my own. We do hire second crews all the time and I’d say 80% of the time it’s a 2-person crew. The satellite truck operators still for the most part, want soundies to monitor audio during live shots.
I know a shooter here in the San Francisco area who had 12 bags and $4000.00 in cash ready to go when and if Castro died in Cuba, and yes he was on his own so far has handling the baggage because the rest were flying in from the east coast. This was for ABC News. As for travel – guess I’m an exception, I try to travel as light as possible – hire local crews when necessary. I pack one piece of luggage, the camera of course, tripod case, a light kit with 2-3 lights and stands, and a pelican case with audio, tapes, small LCD monitor, extension cords and batteries. Of course our editor will travel with 2-3 more pieces of gear, so it does add up. Last time I traveled it was about $400.00 each way shipping to the hotel. Shipping ahead is the only way to manage things, of course there is always that unforeseen possibility of something not arriving or showing up broken. But hey, I’d rather take my chances with FedEx or UPS than some of the airlines.
On most trips it’s take a cab from the airport to the hotel. Hotel to the location, cab back to the hotel for dinner, drinks and bed. Repeat until the shoot is over. Not a lot of time for sight-seeing.
If we ever need a crew in Boston, we’ll call you first.
Mark Neuling
Tom,
I work for CNBC, so besides that network the footage can air on MSNBC, News Channel, Nightly, The Today Show, the CNBC web-site, CNBC Asia, as well the local O&O which we are based out of.
As far as a sound tech – I have worked twice with one in 3 plus years on this job. So yes when it comes to sound I’m pretty much on my own. We do hire second crews all the time and I’d say 80% of the time it’s a 2-person crew. The satellite truck operators still for the most part, want soundies to monitor audio during live shots.
I know a shooter here in the San Francisco area who had 12 bags and $4000.00 in cash ready to go when and if Castro died in Cuba, and yes he was on his own so far has handling the baggage because the rest were flying in from the east coast. This was for ABC News. As for travel – guess I’m an exception, I try to travel as light as possible – hire local crews when necessary. I pack one piece of luggage, the camera of course, tripod case, a light kit with 2-3 lights and stands, and a pelican case with audio, tapes, small LCD monitor, extension cords and batteries. Of course our editor will travel with 2-3 more pieces of gear, so it does add up. Last time I traveled it was about $400.00 each way shipping to the hotel. Shipping ahead is the only way to manage things, of course there is always that unforeseen possibility of something not arriving or showing up broken. But hey, I’d rather take my chances with FedEx or UPS than some of the airlines.
On most trips it’s take a cab from the airport to the hotel. Hotel to the location, cab back to the hotel for dinner, drinks and bed. Repeat until the shoot is over. Not a lot of time for sight-seeing.
If we ever need a crew in Boston, we’ll call you first.
Mark Neuling
Last edited:
Flaca Productions
Well-known member
tom,
my experiences came from 5 years at CNN based in atlanta in the photo pool - not attached to any one unit or desk. that's why i qualify my response as being pre-9/11 when it comes to baggage. excess baggage costs were so much lower then - throw a couple of extra $20s at the skycap and the bags all showed up...yeah, you used to be able to check all those bags curbside... we always checked a magliner as a bag as well and always had a rental car (minivan).
as for soundies - i was fortunate enough to work with a partner about 75% of the time, but I did a lot of politics and those kinds of shoots dictate the need.
personally, the travel was great. i did nearly 300 days a year on the road. i knew what i was getting into and that's what i wanted. i especially enjoyed some of the longer stints as you get to know the area a little.
my experiences came from 5 years at CNN based in atlanta in the photo pool - not attached to any one unit or desk. that's why i qualify my response as being pre-9/11 when it comes to baggage. excess baggage costs were so much lower then - throw a couple of extra $20s at the skycap and the bags all showed up...yeah, you used to be able to check all those bags curbside... we always checked a magliner as a bag as well and always had a rental car (minivan).
as for soundies - i was fortunate enough to work with a partner about 75% of the time, but I did a lot of politics and those kinds of shoots dictate the need.
personally, the travel was great. i did nearly 300 days a year on the road. i knew what i was getting into and that's what i wanted. i especially enjoyed some of the longer stints as you get to know the area a little.
LuccaBrazzi
Well-known member
What about if you're married w/two little kids?
All that travel sounds fine if you're single, unattached & ready to mingle.
Curious to hear from net-folk who are STILL happily married AND have two little kids.
I'm guessing most are either: Single, divorced...married w/o kids, or have adult kids.
I just don't see how you can "make it work" at home AND be a kick-ass network shooter or reporter.
I always think of network-types being like that Holly Hunter character in "Broadcast News."
Thoughts/comments, anyone???
All that travel sounds fine if you're single, unattached & ready to mingle.
Curious to hear from net-folk who are STILL happily married AND have two little kids.
I'm guessing most are either: Single, divorced...married w/o kids, or have adult kids.
I just don't see how you can "make it work" at home AND be a kick-ass network shooter or reporter.
I always think of network-types being like that Holly Hunter character in "Broadcast News."
Thoughts/comments, anyone???
104imdirect
Well-known member
Clarification
I am one of two photojournalists at CNN Newsource - so my work goes out to the 800+ domestic affiliates, the myriad of international affiliates and our own nets like CNN, CNN International, CNN Airport Network, Headline News, Student News and a few others.
As far as the traveling with 17 cases, I'm responsible for my own gear on the road. Producers and Correspondents help out when they can - but the care and transport of the gear rests on my shoulders. Typically, I call a taxi service when I'm leaving DC for the airport - the driver loads the gear, a skycap unloads it and gets it on the plane. When I get to where I'm going, I'll rent a minivan and a skycap will load it up for me. When I get to a hotel, a bellhop unloads the rental van and takes the gear to my room. I don't really have to lift anything until I get on location and start setting up. The company pays for tips - as they understand what we deal with on the road. You can see a picture of all the cases at the following link: http://www.flickr.com/photos/14786585@N06/1523066505/
I do not work with an audio guy - though the pj's who work exclusively for the cable net do. When doing live shots (we may do 20 or 30 at a location) the only piece of wireless gear I use is an IFB receiver. This allows me to move around on location while still monitoring what's going on in my correspondent's ear. EVERYTHING else is hardwired - and I always have a backup hardwire IFB box and a spare lav mic wired up and ready to go just in case something craps out.
As far as my personal life, I'm engaged. Because this is essentially a M-F gig, I actually have more time to spend with my sweetheart. At my last shop, it looked like it was going to be another 5 - 7 years of weekend night shifts before I was going to see a weekday dayside schedule. It was probably going to be closer to 7-8 years before I was going to see any of the big holidays off (and I was there for 4+ years)- whereas this year I've got Dec. 29th - Jan 6th off. 2008 will be my first full year here, and I'm looking at almost 6 1/2 weeks paid time off - far more than what I had at my last shop.
The other photojournalist here has been happily married for years with a couple of grown kids - though he was involved in the same racket when they were younger and made it work.
I am one of two photojournalists at CNN Newsource - so my work goes out to the 800+ domestic affiliates, the myriad of international affiliates and our own nets like CNN, CNN International, CNN Airport Network, Headline News, Student News and a few others.
As far as the traveling with 17 cases, I'm responsible for my own gear on the road. Producers and Correspondents help out when they can - but the care and transport of the gear rests on my shoulders. Typically, I call a taxi service when I'm leaving DC for the airport - the driver loads the gear, a skycap unloads it and gets it on the plane. When I get to where I'm going, I'll rent a minivan and a skycap will load it up for me. When I get to a hotel, a bellhop unloads the rental van and takes the gear to my room. I don't really have to lift anything until I get on location and start setting up. The company pays for tips - as they understand what we deal with on the road. You can see a picture of all the cases at the following link: http://www.flickr.com/photos/14786585@N06/1523066505/
I do not work with an audio guy - though the pj's who work exclusively for the cable net do. When doing live shots (we may do 20 or 30 at a location) the only piece of wireless gear I use is an IFB receiver. This allows me to move around on location while still monitoring what's going on in my correspondent's ear. EVERYTHING else is hardwired - and I always have a backup hardwire IFB box and a spare lav mic wired up and ready to go just in case something craps out.
As far as my personal life, I'm engaged. Because this is essentially a M-F gig, I actually have more time to spend with my sweetheart. At my last shop, it looked like it was going to be another 5 - 7 years of weekend night shifts before I was going to see a weekday dayside schedule. It was probably going to be closer to 7-8 years before I was going to see any of the big holidays off (and I was there for 4+ years)- whereas this year I've got Dec. 29th - Jan 6th off. 2008 will be my first full year here, and I'm looking at almost 6 1/2 weeks paid time off - far more than what I had at my last shop.
The other photojournalist here has been happily married for years with a couple of grown kids - though he was involved in the same racket when they were younger and made it work.
dhart
Well-known member
Those were the days. ..14 bags for $20. I can remember when an airline ticket was good on any airline. We'd just check for the next plane to where we were going and hop on.
Although not a network shooter, I did a ton of corporate work in my youth. Back when money was no object (once had a $250 dinner in N.O. on the corporate tab). Made many a trip on the corporate jet, IMO the most civilized way to fly. My record, 21,000 miles in 13 days.
Here's how you can get a preview of the life of a shooter on the road. Go to the nearest Holiday Inn in your town check-in, then hump equipment around for 20 hours a day, repeat as necessary. Collapse back at the Inn at midnight and remember to put the batteries on charge. Get up every so often during your 4 hours of sleep and change batteries on the charger. People were envious of all the places I traveled to but to be frank I don't remember most of them. I remember a corporate producer offering any crew member $20 if they could name the state we were in. The closest we could come up with was it was Feb and it was warm so we must be somewhere down South.
I was unmarried and I quit travelling when I had kids. Kids are gone now and I get out on the road once in a while, but I still like to sleep in my own bed @ night. In closing be careful what you wish for. IMO life on the road is best done when you are young with few responsibilities.
Here's a run down of a recent network gig:
Get ready to sit down to the table with wife and kid. Phone rings, can you get to LA for a live shot in the morning - it's 6pm. I know the last flight out to LA is at 8:35pm - got less than three hours, I'm 50 minutes from airport assuming no traffic. Get sound tech on board, call travel and secure flights, hotel and rental car. Pack bags (21 cases total), kiss wife, tell child I'm not sure when I'll be back but have a great soccer game. Get to airport at 7:30pm, hook up with sound tech, wrangle skycap. Tip him 100 bucks to get the gear from car to counter. Pay airline an additional $1100 for excess bags. deal with airport security, get on flight and we are off. No meals served.
Land in LA, get skycap, wait and wait for all the bags, tip skycap 100 bucks for the gear, he looks at us like we are cheapskates. Rental car counter only has trailblazers available. finally find an Excursion. Move third seat around so we can get all the cases into the excursion - still find the SUV small. Get to hotel and into bed at 12:30am, find hotel candy bar machine and see if there is anything of nutritional value - there isn't. Crawl into bed wired. Alarm goes off at 2am. Arrive at location around 3am, try to find a suitable background. Unload gear and setup. Sat truck cannot find the satellite. New York is calling wanting to see a picture and test IFB. Producer shows up and all calls are diverted to her. Talent arrives with 10 minutes to go. Drunk stumbles up and asks what are we doing. Divert drunk to producer. Live shot at 5:07am - out at 5:10am. Sit around and wait for a west coast update. 6:15am Load gear back into cases, find coffee, find food. Return to hotel wired.
Get call at 8am, we need to put a package together for evening news. Run around getting sound and video. Fortunately, another crew will handle the live shot. Get to hotel around 9pm. It's been a whirlwind 24 hours. Call wife, she understands, talk with kid, says she had a great soccer game and asks when will I be home. I can only answer her that I'm hoping it will be soon.
A day in the life of a freelance network shooter.
Get ready to sit down to the table with wife and kid. Phone rings, can you get to LA for a live shot in the morning - it's 6pm. I know the last flight out to LA is at 8:35pm - got less than three hours, I'm 50 minutes from airport assuming no traffic. Get sound tech on board, call travel and secure flights, hotel and rental car. Pack bags (21 cases total), kiss wife, tell child I'm not sure when I'll be back but have a great soccer game. Get to airport at 7:30pm, hook up with sound tech, wrangle skycap. Tip him 100 bucks to get the gear from car to counter. Pay airline an additional $1100 for excess bags. deal with airport security, get on flight and we are off. No meals served.
Land in LA, get skycap, wait and wait for all the bags, tip skycap 100 bucks for the gear, he looks at us like we are cheapskates. Rental car counter only has trailblazers available. finally find an Excursion. Move third seat around so we can get all the cases into the excursion - still find the SUV small. Get to hotel and into bed at 12:30am, find hotel candy bar machine and see if there is anything of nutritional value - there isn't. Crawl into bed wired. Alarm goes off at 2am. Arrive at location around 3am, try to find a suitable background. Unload gear and setup. Sat truck cannot find the satellite. New York is calling wanting to see a picture and test IFB. Producer shows up and all calls are diverted to her. Talent arrives with 10 minutes to go. Drunk stumbles up and asks what are we doing. Divert drunk to producer. Live shot at 5:07am - out at 5:10am. Sit around and wait for a west coast update. 6:15am Load gear back into cases, find coffee, find food. Return to hotel wired.
Get call at 8am, we need to put a package together for evening news. Run around getting sound and video. Fortunately, another crew will handle the live shot. Get to hotel around 9pm. It's been a whirlwind 24 hours. Call wife, she understands, talk with kid, says she had a great soccer game and asks when will I be home. I can only answer her that I'm hoping it will be soon.
A day in the life of a freelance network shooter.
hhcamera,
With your travel, rental car and hotel expenses they doubled and quite possibly tripled their cost. I would understand that if they needed you in a small town, but LA? With all the cost cutting these days, why didn't they just hire a LA based crew? Aren't there enough freelancers in LA?
With your travel, rental car and hotel expenses they doubled and quite possibly tripled their cost. I would understand that if they needed you in a small town, but LA? With all the cost cutting these days, why didn't they just hire a LA based crew? Aren't there enough freelancers in LA?
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personal life
i did 10 years @ cnn the last 3 with over 200 days on the road. did a few presidential campaigns/conventions, hurricanes earthquakes etc etc. my kids were 7 and 8 at the time. i realized one day i wanted to see them grow up when they started saying a couple of days is 2. I quit and went local, travel once in a long while and don't regret leaving the life. my marriage is great and i'm going to football/basketball games to see them play. Its about priorities (not saying the other is wrong) its just about what you've done careerwise and where you're at in life. I was on john kerry's airplane in 04 ran into a cnn shooter I respect alot and he mentioned he missed most birthdays graduations and the kids were grown and gone. thats tough.
i did 10 years @ cnn the last 3 with over 200 days on the road. did a few presidential campaigns/conventions, hurricanes earthquakes etc etc. my kids were 7 and 8 at the time. i realized one day i wanted to see them grow up when they started saying a couple of days is 2. I quit and went local, travel once in a long while and don't regret leaving the life. my marriage is great and i'm going to football/basketball games to see them play. Its about priorities (not saying the other is wrong) its just about what you've done careerwise and where you're at in life. I was on john kerry's airplane in 04 ran into a cnn shooter I respect alot and he mentioned he missed most birthdays graduations and the kids were grown and gone. thats tough.