I do both lighting and grip work. They are two separate departments.

However, there are two other "stage" groups that operate on a crew.

Art department does all of the set design/props.

And then there are the production assistants who are not payed/underpayed bodies that we get to boss around. They usually help anyone that needs help or whoever they're assigned to.


Today it's pretty easy to get hired onto something. Seems everyone's making a film these days and need help carrying gear. Will you get payed for this shit? Not likely. However, sometimes these film makers call in favors from industry professional friends of theirs to assist. This is your chance to make connections with said people.

If you bust your ass and do a great job... and also show that you're there to learn and never, ever talk back... then chances are you can start getting hired on for future gigs.

I was lucky. My dad is a tv producer and I called in a favor of sorts. I have always been interested in lighting, but it was my dad who introduced me to my lighting mentor.

The hours are varied from project to project. In Seattle, the standard day is ten hours, with overtime starting after 10. In California, the standard day is 14 hours. Overtime is time and a half, with double time after two hours I believe.

However, it's more than likely that you'd start off working on a set that would have you working anywhere from 10 to 16 hour days.

The money can be good... but it's not for me right now.

A gaffer in this town can make $550 or something per ten hour day. This is not what I make.

Also, consider this: That seems like a ton of money. But if you're only working a couple weeks in a month (IF THAT!) then you soon find yourself broke as hell (see: me).

It is difficult to get involved or meet people in need of production assistants. There are sometimes listings on craigs list.

If you'd like, I can try and pull some strings and get you a PA position on Biz Kids when we start filming again next Summer. No promises.