Alright – so today we’ve got the honor of introducing you to Ruthie Grumbine. We think you’ll enjoy our conversation, we’ve shared it below.

Ruthie, looking forward to hearing all of your stories today. Have you been able to earn a full-time living from your creative work? If so, can you walk us through your journey and how you made it happen? Was it like that from day one? If not, what were some of the major steps and milestones and do you think you could have sped up the process somehow knowing what you know now?

I have been able to earn a full-time living as a camera assistant in the film industry, which has given me a flexible schedule to take off weeks at a time for friends’ passion projects, travel, and a plethora of life experiences.

Film is one of those professions that has no clear path from start to finish. The answer to the question, “How did you get where you are today?” will be different for each film worker in the industry.

For me, I was able to 1st AC on an indie feature in between junior and senior year of college. Comparatively to jobs I’ve done since, it wasn’t an amazing gig. We were hired on as PAs and paid accordingly, but being the “camera PA” on that show meant pulling focus on B cam when we were doing two camera setups. That gave me vital real-world experience to take with me after graduation, and a credit to back up my skills. After that, I went on to PA on an Apple TV show and ended that show with a week as a camera utility. Since then, most of my work as been in camera department, mostly as a 1st AC on indie features.

So much of the film industry revolves around connections. For years, the jobs I landed could be traced back to connections I made either through or during school. Aside from that, I’ve gotten some work through cold emails and facebook posts, though I don’t pursue gigs from those avenues as much anymore. The wider your net gets, the more people remember you and call you back for work, and the less job searching you have to do. I’ve been blessed to meet a lot of good people within the industry that I’ve had the opportunity of working several different jobs with.

Awesome – so before we get into the rest of our questions, can you briefly introduce yourself to our readers.

How I got into film:
Growing up, I was fascinated by how filmmakers could make movies look so good. These actors were real people, in real places, but the films themselves looked too good to be real. I didn’t like watching animation as a kid because it was clearly fabricated, but live-action films made magic out of reality. I wanted to be a part of that.

In eighth grade, my best friend at the time told me she was going to make a movie. I was stunned. Kids like us could do that? She put together a script, pulled out the family’s DV tape recorder, and we threw all our efforts into making (what we thought was) the next epic spy thriller of the year. I fell in love with the process and documented the whole shoot on my iPod touch, totaling an hour and forty-five minutes of edited BTS footage.

After that, I shot something with friends every single summer until graduation, when I went to film school and started doing projects with better equipment and like-minded students.

What services I provide:
Now I’m a full-time freelance filmmaker blessed enough to be able to turn her dreams into a reality. I work largely as a 1st AC on independent films, though I’ve also done my share of TV shows, commercials, docs, and a variety of other projects. I’ve also worked as a script supervisor on a few features and once directed a TV pilot.

What problems I solve for my clients:
Being an assistant camera involves problem solving all day long. Much of an AC’s work consists of building out the camera rig to be as efficient as possible (Will we need to quickly derig for any gimbal shots? Is the build handheld compatible? Are there enough mounting points for any specialty rigs?), as well as making sure the gear list includes everything the DP might need, without going over budget. I strive to be organized with prep lists and meticulous with questions before shooting so that I can anticipate anything that we might need on the day. Film sets work at a very fast pace and there’s precious little time to troubleshoot on set, so anything that can be anticipated in advance will help shooting days go smoothly.

What I’m most proud of:
I’m proud of my love for organization and natural curiosity. I don’t like leaving questions unanswered—if I can figure out a way to troubleshoot something or fix an issue, it’s a good day. I also love trying new things and exploring new places (I’ve made some of the best memories on travel gigs).

Is there something you think non-creatives will struggle to understand about your journey as a creative? Maybe you can provide some insight – you never know who might benefit from the enlightenment.

Most non-creatives struggle with the concept of living a freelance lifestyle. Unsteady income, a schedule that changes daily (sometimes with only a few hours of notice), and living constantly with unknowns has certainly had its difficulties. As a type-A person myself, it’s taken some getting used to—but the trade-off of having the freedom to pursue anything has been so worth it for me. I’ve been able to pack my 20s with valuable life experience and opportunities that I just wouldn’t have had at a standard 9-5.

Are there any resources you wish you knew about earlier in your creative journey?

Network, network, network. Don’t pass up on opportunities to meet new people. Film festivals can be great ways to make new connections and find new work. Cold emails are sometimes effective for letting people know you’re on the map. Be kind to everyone. You never know where (or who) your next gig may come from!

Contact Info:

• Website: https://www.theloyallens.com
• Instagram: https://www.instagram.com/theloyallens/