3 answers
Sofia
Student
Elk River, Minnesota
3
Questions
Updated
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What is the annual salary of a just graduated student of cinema ?
I know the film industry is very competitive and it takes time to grow and get a nice paying job, but what is the average salary to someone who just graduated film college?
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3 answers
Randy Cairns
Director - Operations
2
Answers
Kirkland, Washington
Updated
Randy’s Answer
Sofia,
One of the best tools you can use is salary.com and wage.com. Take a look at the programs the school offers at the graduate film college and then type those programs into the websites provided. They can then give you details on the amount of jobs, the trends, and wages. Then you can see what your interest might generate. For example, Carleton College in Northfield, Minnesota had one of the best film programs ratings 2021-2022. The program has classes for screenwriting, editing, and so forth. Screen writting pays on average $67,247 as of February 27, 2023, but the salary range typically falls between $55,089 and $86,046. Hope this helps.
One of the best tools you can use is salary.com and wage.com. Take a look at the programs the school offers at the graduate film college and then type those programs into the websites provided. They can then give you details on the amount of jobs, the trends, and wages. Then you can see what your interest might generate. For example, Carleton College in Northfield, Minnesota had one of the best film programs ratings 2021-2022. The program has classes for screenwriting, editing, and so forth. Screen writting pays on average $67,247 as of February 27, 2023, but the salary range typically falls between $55,089 and $86,046. Hope this helps.
Hank Isaac
Writer/Director
36
Answers
Ocean Shores, Washington
Updated
Hank’s Answer
The real answer is: $0.00 Why? The film industry is largely an apprentice-driven enterprise. I always recommend folks interested in pursuing a career in film or TV production NOT go to film school. But we're past that here. When I was in high school, I had an American History teacher who said quite realistically, "If all you want in life is to make money, then print it." Suggesting, of course that counterfeiting is the most direct way to get money and also celebrates a certain skill level and is usually nonviolent.
Creative fields are artistically competitive and the people who work in them are like deer -- always hunting for food.
From your question, I'm not really clear on what a "student of cinema" is? Were you involved in creating films or only studying existing ones? Also, I've never asked if any member of any of the production teams I've assembled attended film school. Most productions know that what's usually taught in "film school" is really a pastiche of the real world of film production. They know they will need to re-train you.
If you studied filmmaking, then I imagine you have some sort of portfolio or reel. Yes? And that's great. But...
Most student film projects don't carry the gravitas needed to guarantee your skill level to a production whose cost is not $50 per minute of finished running time like yours but rather $10,000 per minute.
The most significant question you must eventually answer is: Why should they risk including you at all, even if you agree to work uncompensated?
When I bring someone onboard for a production, this is what I consider:
• Is this someone I want to spend a lot of time with?
• Is this someone who never promises more than they can deliver and always delivers more than they promise?
• Is this someone who is not only intelligent but also learns easily?
• Is this someone who can point to every mistake in their own projects (if this is their first "real" job with someone else)?
• Is this someone who can take unrelated skills they may have and translate them to skills I might need?
Notice I never quiz them on what they know. I don't care where (or even if) they went to school. NOTE: Nearly all of the folks I've worked with never went to school for filmmaking.
Brief Anecdote: I was helping an acquaintance set up a design office. The moving company's supervisor was sick, so one of the movers filled in. I watched this fellow all day as he handled crisis after crisis calmly and actually made the other movers feel like they were really, really important. I asked for his contact info at the end of the day. Filed the info. So here's the punch line: Ten (Yes, TEN) years later, I hunted him down and hired him to be a Production Manager on one of my projects.
That's the person you want to be (possibly minus the moving).
/h
1.) Figure out a primary and secondary skill you can offer. Both should be well defined and supported by work samples. "I can do anything" may be true, but it's hard to sell.
2.) While film and TV are primo, compile a list of other sources of similar work (ad agencies, videomakers, corporate in-house video production, etc.)
3.) Determine if you have or can secure the financial resources to survive for at least 18 mos. in a major film market area and offer to work on projects there for free to develop a reputation.
4.) Realize that you, Sofia, need to be a "brand" which you will market to one or more productions or companies which frequently create productions. Build that brand, then market it.
Creative fields are artistically competitive and the people who work in them are like deer -- always hunting for food.
From your question, I'm not really clear on what a "student of cinema" is? Were you involved in creating films or only studying existing ones? Also, I've never asked if any member of any of the production teams I've assembled attended film school. Most productions know that what's usually taught in "film school" is really a pastiche of the real world of film production. They know they will need to re-train you.
If you studied filmmaking, then I imagine you have some sort of portfolio or reel. Yes? And that's great. But...
Most student film projects don't carry the gravitas needed to guarantee your skill level to a production whose cost is not $50 per minute of finished running time like yours but rather $10,000 per minute.
The most significant question you must eventually answer is: Why should they risk including you at all, even if you agree to work uncompensated?
When I bring someone onboard for a production, this is what I consider:
• Is this someone I want to spend a lot of time with?
• Is this someone who never promises more than they can deliver and always delivers more than they promise?
• Is this someone who is not only intelligent but also learns easily?
• Is this someone who can point to every mistake in their own projects (if this is their first "real" job with someone else)?
• Is this someone who can take unrelated skills they may have and translate them to skills I might need?
Notice I never quiz them on what they know. I don't care where (or even if) they went to school. NOTE: Nearly all of the folks I've worked with never went to school for filmmaking.
Brief Anecdote: I was helping an acquaintance set up a design office. The moving company's supervisor was sick, so one of the movers filled in. I watched this fellow all day as he handled crisis after crisis calmly and actually made the other movers feel like they were really, really important. I asked for his contact info at the end of the day. Filed the info. So here's the punch line: Ten (Yes, TEN) years later, I hunted him down and hired him to be a Production Manager on one of my projects.
That's the person you want to be (possibly minus the moving).
/h
Hank recommends the following next steps:
Jeremiah Rounds
Producer "Behind the Card" (Feature Film)
5
Answers
Las Vegas, Nevada
Updated
Jeremiah’s Answer
In the film industry, there is a huge variance in pay. What you make in a year varies greatly on how many jobs you book, how long each job lasts, whether it union or non-union, where the shoot is, how much overtime you work, and the budget of the show. As a PA (which is where pretty much everyone starts, regardless of degree or not) I'd say the current average in Las Vegas is between $150-250 per 12 hour day. If you figure a low budget movie shoots for 3 -4 weeks, you could expect about $4000/month.
But then there might not be a show in town next month, so maybe you only book a few days on a commercial at a higher rate, and you make $900 that month. Then maybe you book at show for six weeks at $250/10 and you end with a lot of overtime. The next two months you might make $5000 each month. Then a couple random three day low rate jobs the next month, but a friend you met in the wardrobe department hires you for a week as their assistant. You don't get paid any more than you would on a PA gig, but you gain some experience, and a few gigs later they hire you into s bigger show they are working on at a higher rate, and you make $350/day for three weeks...
As you may have guessed, how much you can expect to make can change dramatically throughout the year. Especially when you are starting out, and don't have a large network or established reputation. It can be a wild ride, but it can also be very rewarding. It's definitely not a job for someone who is looking for a consistent, stable income, in most areas...
But then there might not be a show in town next month, so maybe you only book a few days on a commercial at a higher rate, and you make $900 that month. Then maybe you book at show for six weeks at $250/10 and you end with a lot of overtime. The next two months you might make $5000 each month. Then a couple random three day low rate jobs the next month, but a friend you met in the wardrobe department hires you for a week as their assistant. You don't get paid any more than you would on a PA gig, but you gain some experience, and a few gigs later they hire you into s bigger show they are working on at a higher rate, and you make $350/day for three weeks...
As you may have guessed, how much you can expect to make can change dramatically throughout the year. Especially when you are starting out, and don't have a large network or established reputation. It can be a wild ride, but it can also be very rewarding. It's definitely not a job for someone who is looking for a consistent, stable income, in most areas...