Himank Agarwal explains how he is making the most of new avenues for exposure and collaboration to thrive in a changing film industry.
Ever since I moved to Los Angeles at the beginning of last year, I was told by multiple industry veterans alike that this is not the best time to graduate and enter the industry as a cinematographer. “There’s no work in LA!”, “The industry is dying” they said.
While I see where they were coming from, I didn’t find what they said to be necessarily true. The industry right now is definitely very different from what it was 10 years ago but only because it is making way for new mediums, formats and ways of consumption. I think a better way to put it is that the industry is transforming. Especially in the context of Los Angeles, which used to be the hub for all the biggest productions in Hollywood but has seen a decline due to uncompetitive tax breaks and filming costs in general.
However, that leaves behind everything else – indies, commercials, social media content, micro dramas, music videos and the list goes on. For a recent film school graduate like me, trying to navigate my way through this daunting industry, these avenues have proven to be excellent pathways into it. Traditional pathways into the industry are shifting. With the rise of the “Internet Generation” of filmmakers, there is a lot of hope for all of us.
Over this past year, I was fortunate enough to participate in quite a few productions as a DP and gaffer. This led to a lot of meaningful collaboration and, in turn, networking. I met all kinds of creatives, some of whom turned into repeat collaborators. Forming these work relationships had a domino effect and I kept meeting new people and getting on more sets.
People work with you and if they like you, they recommend you to other people and the cycle continues
After a while, I realised that this is how a lot of this industry works. People work with you and if they like you, they recommend you to other people and the cycle continues. There is hardly ever a formal application process for on set roles like that, especially for the role of a cinematographer. It is about having that pre-existing relationship with a director or being in the right rooms, which allows them to approach you or for you to show them that you understand their vision and can add meaningfully to it.
Starting out, my network was made up of peers from film school, mentors that I met through internships or college programmes and anyone I was able to connect with online. Social media became a big place of discovery for me. As I met people on set, we exchanged social media and the “LA handshake” became a thing. Being up to date with what everyone is working on and actively reaching out to them opened a lot of doors for me.
Social media is a great platform to show work as a cinematographer and build an audience. Film festivals are not the only way to get discovered anymore. Our generation wants to see work made by other people from our generation and recent theatrical releases have proven that. Being the largest theatre-going demographic, our generation drives box office success and also consumes the most amount of media online. Building a website and showreel and having social media presence in general can do wonders for an upcoming DP’s career. You never know who ends up seeing those stills you posted on your Instagram or those BTS photos of you from set. Putting yourself out there lets the right opportunities come to you.
As a cinematographer, dealing with the nuances of an ever-changing industry is a part of the job
At first, what worked for me was saying “yes” to every opportunity until I had enough work in my portfolio to show for. At the same time, it was also important for me to not get taken advantage of in the process. It is a thin line and sometimes productions can tip toe it. You know it’s a truly collaborative environment when your opinions get taken seriously and you are treated with respect.
Although indie film has come a long way, it still has a long way to go in terms of labour regulations and wages. Since a lot of indie filmmaking is non-union, the crew does not always have the protection and support that a labour union provides. For recent film school graduates and creatives trying to break into the industry, there is a grey zone they seem to be stuck in. The union feels out of reach just yet because of the high initiation fees/dues and other requirements for entry, but there is also a need to negotiate a better contract and working conditions.
The ‘Artists Equity’ model is also a good way to work with indie films if they can’t quite meet you where you are. It essentially provides a way to compensate cast and crew both upfront and down the line while working within current budget constraints. That way everyone, producers and crew members, walk away happy and feeling respected. However, it is important to have these terms negotiated and included in your contract before the start of the production.
As a cinematographer, dealing with the nuances of an ever-changing industry is a part of the job. Learning how to navigate it early on allowed me to focus more on my creativity without worrying about the logistical pressure of it all. I wake up feeling grateful every morning for being able to create art for a living and supporting other creatives in their endeavours.
