@bobevanz - we know Josh can't resist. He'll post another one in a few minutes

@Blergh - Call sheets are already required to be distributed at a minimum of 12 hours before the listed time. Call times are based on the negotiated turnaround times (Times between when you leave work and return the next day). Most unions get between 10 and 12 hour turnarounds. Call times are dependent on and shift according to wrap the day before or the mandated weekend turnaround length, which was negotiated by IATSE (the overarching technicians union comprised of several industry locals). Other than budget mandated daily lengths (ie: 12 man hour days which roughly works out to 10 shooting hours) fixed shifts are an impossibility. Almost all shows encounter exterior Night scenes or exterior day scenes where as the saying goes, "God is you're Gaffer." Meaning that daylight or nighttime are required for the shot. Of course this is also all dependent on cast and crew receiving scripts in a timely manner - which rarely happens (and often results in fines to the show, but not the writers themselves. In regards to block shooting, this became more prevalent since shows often return to rented locations or sets that are cost prohibitive to keep returning to, rather than filming everything they need there all at once. Again, a result of what the writers put on the page.

@Blergh - I'm sorry to hear that. Are you working union gigs? If so, I'm surprised nobody's filed a grievance.

@Blergh - That's rough. Good for you, making it happen though. Unfortunately for all of us, we get to do jobs that so many people are dying to do, that the powers that be will often just say take it or leave it and somebody else will be willing to do it.

@Blergh - you're right, and I definitely recognize that I'm in a privledged position in an industry I love. And for the record, when I started, I definitely took scraps. The upside to that is the opportunity to prove yourself and show you're worth. Building a list of credits on your resume and working with as many different crews as possible allows you to eventually demand your worth or turn down a job if they won't meet your rate.

@Blergh - The only ones who are contracted for more than one season at a time are known as "Above the Line". Actors, Producers and such. Crew members have always been freelance and even if they know for sure that they'll return after a hiatus, very often take work on other projects between seasons to supplement their incomes. Part of what the writers are fighting is what they call a "Gig Economy". They don't want to be considered freelance. However they are also saying that they want the ability to work on other shows between seasons. The problem is you can't have it both ways. And don't get me wrong, I firmly believe in a lot of what they're fighting for. Shooting seasons back to back is great in theory, just not practical. First, you have to account for the possibility of a show not doing well and being cancelled. That's way too much money for anybody to gamble. And again, partly because that would require the writers to have scripts completed in advance. Most shows and all movies have schedules and an end date. They are budgeted for a certain amount of shooting days. Of course, these will change by a few days here and there based on unforeseen circumstances, but I've never been on a show where I didn't know how how long the gig would last.

@Blergh -Yeah, it's a huge difference in the big budget scripted series and certainly big features. The show I just came off of we did 18 episodes for a single season. Big action, stunts and effects. We get 10 shooting days and one 2nd unit day per episode. Did you film the 3 seasons before selling it to a network or outlet? Or did the producers make a deal in advance for 3 seasons? That sometimes happens in the reality or competition world since the cost is significantly lower. Is this a union production? Non union shows tend to get away with a lot, and unfortunately often take advantage of their crews.

@Blergh - So do you work for the streaming service rather than the show itself? I generally get hired by the producers and get paid a daily rate based on a 12 hour minimum (adjusted for things like meal penalties and overtime). Some crew members negotiate weekly rates. Series regular Cast, writers and such often get episodic rates, again negotiated by agents based on union rules and standards. Of course also factored in are fringe costs like health benefits and pension which the producing entities contribute to through the unions.

@Blergh - I hear ya. The good news is that there are so many ways these days and technology available that you can write direct and shoot your own content pretty inexpensively as well as shop or distribute it yourself. I would encourage you to start putting together some sort of reel or portfolio to get yourself out there. That's how so many writer/directors are making names for themselves. I've worked with a couple of really big names who started out that way. I'm rooting for you.

@Blergh - Congrats on finishing the feature. That's a huge accomplishment. I've learned that while you're making (and more importantly, paying for) your own project, make sure it's exactly what you want it to be. Once you start working with studios or somebody else paying for them, they will always demand a say in the final product. So, enjoy the autonomy while it's yours. When you're ready to show it, I look forward to seeing it.
As for the last gig ending badly? it happens. I've learned as much from the bad experiences as I have the good. Knowing what not to do is as valuable as what to do.

@Blergh - You're very welcome. I do hope they're useful. I've been doing this a really long time. I cringe to say that I've been in this business for coming up on 30 years now. Both the entertainment industry and old guys like me need the new kids and your energy.

@DocSpock - STFU

@supermanrex -

Wow! There is a cogent & well thought out retort.

@DocSpock - if season 2 ends up bad then i’m just gonna pretend it doesn’t exist. I’m still hopeful but s1 was such a miracle, lightening doesn’t strike twice