Here at Wonderful Machine, we pride ourselves on being experts on all things photography and production. When working on a big shoot, one of the first steps towards a successful outcome (right after you’ve been awarded the project) is sourcing and booking a solid crew. How does one accomplish this seemingly insurmountable task you may wonder? Let us be your guide!
As a photographer, your crew is a group of hand-selected individuals who will help you with aspects of your shoot you cannot do yourself. Your crew can range anywhere from one to more than twenty people.
There’s no secret formula for sourcing the perfect crew, but you do need access to the right information and resources to get the ball rolling. Your approach to sourcing the perfect crew will vary based on the individual project you’re producing, but it should always include these steps:
Before you get started, figuring out how you want to distribute your budget is key. Even though the budget can be restricting, you’ll want to be sensitive to not sacrifice the creative in any way. This should all be discussed during negotiations. Depending on the size of the project and the resources you have available, you’ll have to decide the size of your crew as well as if you want to hire people that specialize in certain areas or a couple of folks who can handle multiple tasks. For instance, you could find a stylist who can take care of both hair and makeup, but if the production is large and you have the budget for it, you might need specialists for each. Location can also play a big part in determining crew size. For example, if you’re shooting outside in multiple locations throughout the day, you may want to opt for a smaller footprint production versus when shooting in a studio. Other variables to consider are cancellation policies, insurance, and markups. Some crew will charge if you don’t cancel within a certain window, so be aware of that possibility given weather disruptions and other potential interferences. Insurance is vital, too. If anyone is injured on set, who’s going to cover the medical bill? Be sure to keep these things in mind as you plan your shoot and research potential crew.
Once you have a rough idea of how you’ll be allocating your budget, you can start researching crew who would be a good fit for the assignment. This will depend mainly on how many people the shoot requires, what types of crew you need, and the location of the production. Aside from looking to folks you’ve worked with in the past, Wonderful Machine’s Find Crew page is an excellent place to start. We’ve built and maintained this database over the course of ten years, and we’re constantly updating it as people join and leave the industry. Covering 27 different crew specialties, it includes everything from animal agencies to set designers, and lists crew from all over the U.S. and beyond.
Once you’ve wrapped your head around our crew page and determined what’s required for your shoot, it’s time to start using this resource to search for your team! It’s a good idea to make a list of your top choices and then choose some additional crew members you can use as backups in case things don’t go exactly to plan (hint: they never do). Your pre-production timeline will determine if you’ll have this luxury, as various factors can affect your shoot dates. If you’re shooting outside and on-location, the weather can change. If the client suddenly needs to push back a date due to issues on their end, you need to be ready. If the scope of the project changes and you have to add an additional shoot day, will you have the right crew in place? Because there are so many factors that can lead to a date change, it’s important to have a backup plan that accounts for unforeseen circumstances. Flexibility and being able to turn on a dime is key!
Behind the scenes of our shoot with MGM
Having backups in place really came in handy during a recent shoot Wonderful Machine produced for MGM National Harbor. We were shooting a wide variety of commercial spaces before construction had even been completed at the casino and hotel. We had initially planned the shoot for nine consecutive days, but due to unmet construction deadlines, we needed to split the project in half and return to the location twice. We were already a few days into the production when we learned of the construction snafu, but I was still able to quickly adjust our shoot schedule. Between the two assistants I’d booked for the original shoot dates, I lost one due to a scheduling conflict. All of a sudden, I was short an assistant!
My first move was to ask the remaining assistant if he had any recommendations for locals whom he’d worked with previously. I sometimes take this approach because the remaining assistant will usually recommend someone they’re used to working with, making the shoot run smoother. When this failed, my backup plan sprang into action. I was able to contact an assistant I had on hold, who was thankfully still available to fill in. If that ended up being a no-go, I would have referred back to our robust crew database and began calling and emailing assistants in the Baltimore area. If I had not found a local via the database, my next step would’ve been to expand my search to either the D.C. or the Philadelphia metro areas.
Behind the scenes shot of wardrobe stylist Christie Proud for a shoot that I line produced for Charles & Colvard.
So! You’ve done your research, found crew members who’ll be a good fit for your production, and established backup plans B, C, and D. What’s next?
As long as you have the signed estimate or bid from the client in hand, it’s outreach time! My personal preference is to start with a phone call, complete with a follow-up email. This is especially important if they didn’t answer the initial call and I left a message. I personally feel like no one talks on the phone anymore and that conversation is rarely held outside of email and text messages. I like to keep it old school and give someone a good old fashioned phone call to get to know them. This also gives me the opportunity to ask questions if I need to speak with them about something specific like lighting techniques, hair & makeup direction, or wardrobe specs – things like that. I like to use phrases like “potential project” and “checking your availability” and “tentative hold.” I’ve found this sort of language is polite and precise but doesn’t make specific promises just in case things don’t pan out. Once you’ve checked that they’re available on the shoot days, go ahead and put them on hold.
It shouldn’t come as a surprise that specific types of crew are going to require different levels of planning and coordination. When the shoot calls for catering, for example, I make it a point to ask if the crew and talent have any food allergies or restrictions in my initial phone and email. Although most shoots don’t require catering, it can be one of the most difficult aspects of crew to get right because you need to account for many different food preferences and expectations. Trust me, I’ve been on shoots where the catering has been a nightmare. I like to make sure there are always a few protein and vegetarian options and I always bring a few craft trays (food the crew can munch on all day instead of at a specific meal time) to each shoot as a backup. I also like to keep the meals light so that the crew isn’t falling asleep halfway through the day. Another crucial trick to keep people awake is to have lots of fresh hot coffee (or cold brews) on set at all times!
We recently worked with an amazing caterer in Denver for a job that we produced last summer with the local agency Karsh Hagan. This was a major production with a large crew and a lot of talent. We were shooting outdoors and in multiple locations each day, and thank goodness the weather was in our favor the whole time (even though it was unseasonably hot). With a few calls and a lot of Yelp reviews, we stumbled upon All Love Catering. Their team was amazing; they managed everyone’s food allergies, had multiple options at each meal, and provided different menus throughout the shoot. I did send them a copy of the production book, which we reviewed over a phone call so that they knew when and where we were shooting each day and could anticipate timing for set-up and break down.
Our shoot in Denver for Karsh Hagan
Dave Albanese, Peter Grill, Denny Henry, and photographer David Aaron Troy working on the set of our shoot with Charles & Colvard.
A few days before the shoot, when we are ready to move forward with securing the final crew, I send another email confirming dates and then release any crew that I had in reserve as a hold. I usually leave it up to the hair and makeup stylists, wardrobe stylists and prop stylists to hire their own assistants; they tend to work with regular assistants and have established relationships. After all of the details are finalized, I will send the crew a copy of the production book that includes location information, call times, shoot schedule, and creative brief (if applicable). Some shoots require a pre-production call with the photographer and crew in order to review the production book together. Others don’t necessitate a call, like if you’re familiar with the crew and have worked with them before. It all depends on the scope of the project and the personal preferences of those involved.
Yours truly, smoothing out all the details! Get It?
So hopefully your shoot went smoothly!
Now it’s time to follow up! This might seem like a no-brainer, but you would be surprised how many people I’ve encountered who don’t send a thank you message or some kind of debriefing about the shoot to the crew. This lets them know they did a good job and you were happy to work with them. Apart from being a common courtesy and the polite thing to do, this will give your crew members a more positive feeling when they remember the production and they’ll be more likely to want to work with you in the future. And of course, once they send an invoice, please do pay it in a timely manner.
So there you have it! This article is by no means comprehensive, but we hope it gives you a rough outline of the crew booking process.
As I mentioned earlier, Wonderful Machine’s database covers multiple crew specialties, so when you’re in a pinch to find a caterer, studio space, prop stylists, or location scout, feel free to use our shoot production services! Putting it all together can be daunting, especially with all of the moving parts and scheduling concerns associated with a high production photo shoot, so please don’t hesitate to call 610.260.0200 or reach out if you’d like some assistance. I’ll more than happy to help!