How Long Does It Take to Become a Cinematographer? (w/Examples) + FAQs

Becoming a cinematographer takes 7 to 15 years for most people, though some reach the role in as little as 5 years and others take 20 or more. A cinematographer, also called a Director of Photography (DP), is the head of the camera and lighting crew on a film, TV show, commercial, music video, or streaming project. The role sits at the center of a production’s visual storytelling, and the path to it is governed by union rules, tax-incentive geography, and the U.S. Copyright Act, which controls who owns the images you shoot.

The specific problem this topic addresses is the hidden timeline gap between picking up a camera and actually getting paid as a DP. The International Cinematographers Guild Local 600 requires non-members to log 100 non-union days before they can apply for union membership in most classifications, and missing that paperwork delays union entry by years. The Bureau of Labor Statistics reports the median pay for film and video camera operators at $61,800 per year as of 2023, with the top 10% earning above $127,000, and IndieWire reporting shows working feature DPs often earn $3,500 to $15,000 per day once established.

Here is what you will learn in this guide:

• 🎬 The realistic year-by-year timeline from film student or PA to working Director of Photography
• 🎓 How formal film school paths at USC, AFI, NYU, UCLA, and Chapman compare to self-taught routes in total time and cost
• 🎥 The exact ICG Local 600 roster process, the 100-day rule, and how union entry extends or shortens your timeline
• 💡 Real-world timelines of named DPs like Roger Deakins, Rachel Morrison, Emmanuel Lubezki, Bradford Young, and Hoyte van Hoytema
• ⚖️ The U.S. copyright, tax-incentive, and right-to-work rules that shape where you can work and how fast you can rise

What a Cinematographer Actually Does

A cinematographer is the person who decides how a film looks on screen. This includes the camera, the lenses, the lighting, the exposure, the color, the movement, and the framing. The American Society of Cinematographers defines the role as the “author of the image,” meaning the DP translates the director’s vision into pictures that the audience sees.

The job is both creative and technical. On the creative side, a DP reads the script, meets with the director, and decides the visual language of the project. On the technical side, the DP runs a crew that can include camera operators, focus pullers, gaffers, key grips, and digital imaging technicians. A union feature set can have 20 to 40 people reporting to the DP through the chain of command.

The Legal Layer You Cannot Skip

The images a cinematographer shoots are protected under the U.S. Copyright Act of 1976. The plain-English meaning is that whoever owns the copyright controls the use of the footage. The consequence of ignoring this is that a DP who shoots without a clear work-for-hire agreement can lose the right to use their own reel, which has happened in disputes documented by the Authors Guild. A real-world example is a wedding videographer named Jordan who shot a short film on the side and did not sign a deal memo, and then the producer refused to let Jordan use the clips for a DP reel, which set Jordan’s career back two years. A common misconception is that the person holding the camera owns the footage, but under 17 U.S.C. § 101, a proper work-for-hire contract gives ownership to the hiring party.

The Tax-Incentive Geography

Where you live shapes how fast you rise. The Georgia Film Tax Credit offers up to 30% back on qualified spending, which has made Atlanta a top-three production hub. The consequence is that a camera assistant in Atlanta can log union days faster than one in a state with no incentive. A mini-scenario: Priya moves from Ohio to Atlanta in 2022, joins the camera department on three incentive-backed shows in 18 months, and hits her 100 days two years faster than her classmate who stayed in Cleveland. The common misconception is that Los Angeles is the only path, but FilmLA’s annual report shows on-location production in L.A. has dropped while Georgia, New Mexico, and New York have grown.

The Short Answer: 7 to 15 Years

Most working DPs reach the role 7 to 15 years after they first commit to the career. This range covers the full path from first serious camera job to a credit as Director of Photography on a paying project with a real budget. The range is wide because the path is not licensed, not standardized, and not linear.

A 5-year path is possible for people who own their gear, write and direct their own short films, and build a client base in commercials, music videos, or YouTube content. A 15-year path is common for people who enter through the union camera department, work up from loader to second assistant to first assistant to operator to DP. A 20-year path is common for feature-film narrative DPs who want A-list directors and studio budgets.

Why the Range Is So Wide

The plain-English reason is that cinematography is a reputation business, not a credential business. The consequence is that no degree, certificate, or test makes you a DP. A real-world example is Roger Deakins, who studied at the National Film and Television School in the UK and spent more than a decade shooting documentaries before his first narrative feature. The common misconception is that film school guarantees a DP career, but the Hollywood Reporter’s film school rankings show that placement data focuses on any industry job, not specifically DP credits.

The Formal Film School Path

Film school is the most common starting point, and it adds 2 to 4 years to the front of the timeline. The top U.S. programs are USC School of Cinematic Arts, AFI Conservatory, NYU Tisch, UCLA School of Theater, Film and Television, and Chapman Dodge College.

USC, AFI, NYU, UCLA, Chapman Costs and Lengths

The numbers below come from each school’s published tuition and program length. The plain-English point is that film school is expensive, and the consequence of taking on large loans is that a new DP often cannot afford to turn down low-paying jobs that would build the right reel. A mini-scenario: Marcus graduates from AFI with $180,000 in loans, takes a steady camera-operator job on a reality show to pay the loans, and delays his narrative DP goal by four years.

The common misconception is that AFI is always the best choice because it focuses on the cinematography discipline. The reality is that AFI’s 2-year cinematography MFA is elite but admits fewer than 28 students per year, and many working DPs come from less selective programs where they shot more material. The consequence of picking a school based on ranking alone is that a student may shoot fewer projects and leave with a thinner reel.

The Community College and State School Route

A less-discussed path is the community college to state school pipeline. Schools like Santa Monica College and Los Angeles City College offer low-cost film programs that feed into UCLA, CSUN, and Cal State LA. The plain-English benefit is lower debt, which gives a new DP the freedom to say no to bad jobs.

A mini-scenario: Sofia spends two years at Santa Monica College for $3,000 total, transfers to CSUN’s Cinema and Television Arts program, and graduates with $25,000 in debt instead of $200,000. Sofia takes a $400-per-day PA job on a union feature, keeps her overhead low, and is shooting commercials as a DP within 6 years of starting.

The Self-Taught and Apprenticeship Path

The self-taught route skips film school and replaces it with YouTube, free software, cheap gear, and on-set time. This path can be faster or slower than film school depending on discipline. The plain-English rule is that you still need a reel, mentors, and reputation.

Starting With YouTube, Weddings, and Commercials

Many working DPs today started in wedding videography, YouTube content, or small-business commercials. The consequence of this path is that you earn money while you learn, which removes the debt problem. A real-world example is Matti Haapoja, who built a camera career on YouTube before moving into commercial work.

A mini-scenario: Derek buys a used Sony FX3, shoots 40 weddings in two years at $2,500 each, reinvests in a cinema lens set, and pivots to branded content for local restaurants. By year 4, Derek is shooting national commercials at a day rate of $1,500. By year 7, Derek is listed on agency bid lists at $4,500 per day. The common misconception is that wedding work does not count as “real” cinematography, but No Film School reporting shows many working commercial DPs have wedding or event origins.

The Camera Department Apprenticeship

The traditional path is to start as a camera PA, move to loader, then second assistant camera (2nd AC), then first assistant camera (1st AC), then operator, then DP. The plain-English reason is that this path teaches the equipment, the set etiquette, and the chain of command. The consequence of skipping steps is that a DP who never pulled focus often struggles to communicate with the camera team.

A mini-scenario: Aisha starts as a camera PA on a union show in Atlanta, logs 40 days as a loader, 60 days as a 2nd AC, and applies to ICG Local 600 after 100 total days. Aisha spends five years as a 1st AC on features, moves to operator for three years, and then shoots her first indie feature as DP in year 10.

The ICG Local 600 Union Path

The International Cinematographers Guild, IATSE Local 600, is the union for camera crew and publicists in U.S. film and TV. Joining Local 600 is often the single biggest milestone on the path to a union DP career. The guild has three regions: Western, Central, and Eastern.

The 100-Day Rule Explained

Local 600 requires most applicants to log 100 non-union workdays in their desired classification before they can apply. The plain-English meaning is that you must shoot 100 paid days as a camera assistant, operator, or DP on non-union productions, and you must prove each day with pay stubs and deal memos. The consequence of not keeping paperwork is that days do not count, which has cost applicants years of work.

A mini-scenario: Jordan works 140 days over two years on non-union commercials but only has deal memos for 70 of them, and the guild rejects the application. Jordan spends another 18 months rebuilding paperwork. The common misconception is that any camera work counts, but the guild’s membership page makes clear that days must be in the specific classification and backed by documents.

Roster vs. Non-Roster in Right-to-Work States

In right-to-work states like Georgia, New Mexico, North Carolina, Texas, and Florida, productions can hire non-union camera crew on union shows. The plain-English benefit is that new crew can log union-adjacent days faster. The consequence is that a crew member in a right-to-work state may work union shows for years without being in the union, which can slow entry into the roster.

A mini-scenario: Priya works 200 days on union shows in Atlanta as a non-union 2nd AC, earns great pay, but is not on the roster, so her days do not give her union health and pension. Priya finally joins Local 600 in year 6, three years later than a New York colleague who joined at year 3 because New York is not a right-to-work state.

The Roster Days for New York and Los Angeles

In New York and Los Angeles, the Contract Services Administration Trust Fund manages the Industry Experience Roster, sometimes called the “Local 600 roster” informally, though the roster system applies across IATSE locals. The plain-English meaning is that to work on a union production in L.A. or N.Y., you usually need to be on the roster, and to get on the roster, you need 30 days of non-roster work on a union production in a 12-month window. The consequence is a chicken-and-egg problem: you need days to get on the roster, but roster shows prefer roster crew.

A mini-scenario: Marcus moves from Atlanta to Los Angeles with 150 non-union days and expects to walk onto union shows, but finds that productions in L.A. hire from the roster first. Marcus spends a year building 30 non-roster days on smaller union commercials before he gets steady work. The common misconception is that union membership alone opens L.A. and N.Y. doors, but the roster is the gatekeeper.

Year-by-Year Timeline From Zero to DP

The timeline below is a realistic breakdown for a person starting at age 18 with no connections. The plain-English message is that each year builds on the last, and skipping steps usually backfires.

Years 1 to 2: Foundation

In the first two years, you learn the camera, the lenses, exposure, color, and basic lighting. You shoot every day on whatever gear you can borrow or afford. You watch films with the sound off and study shot composition. You read American Cinematographer magazine cover to cover.

You also build your first reel with short films, music videos, and spec commercials. The consequence of skipping this stage is that you have no visual voice to sell. A mini-scenario: Sofia spends year 1 shooting a one-minute short every weekend and year 2 lighting a feature for a classmate, and by year 3 has a 90-second reel that gets her a commercial agent meeting.

Years 3 to 5: Paid Work Begins

In years 3 to 5, you start getting paid. This might be as a camera PA at $200 per day, a wedding shooter at $1,500 per event, or a second AC at $450 per day. You reinvest earnings into gear and education. You track every day worked with pay stubs and deal memos because you will need them for the union later.

You also start shooting small paid DP jobs: a local commercial, a nonprofit video, an indie short. The consequence of refusing small jobs is that your reel stays thin. A mini-scenario: Derek shoots 15 small commercials at $800 per day in year 4, builds a 2-minute reel, and lands his first $3,000-per-day national spot in year 5.

Years 6 to 9: Specialization and Union

In years 6 to 9, most rising DPs pick a lane: narrative features, episodic TV, commercials, music videos, documentaries, or branded content. The plain-English reason is that agents, reps, and producers book DPs by lane. The consequence of staying a generalist is that bigger jobs go to specialists.

This is also when union entry usually happens. You hit your 100 days, file the application, and join Local 600. A mini-scenario: Aisha joins Local 600 at year 7 as a 2nd AC, moves to 1st AC at year 9, and starts getting called for operator days by year 10.

Years 10 to 15: First DP Credits at Scale

In years 10 to 15, you get your first credits that matter. This might be a feature at Sundance, a Netflix limited series, a Super Bowl commercial, or a major music video. The consequence of these credits is that your day rate jumps and agents start calling. A mini-scenario: Marcus shoots his first A24-distributed indie feature in year 12 after 10 years of commercial work, and his feature day rate moves from $1,200 to $4,500.

Real Cinematographers and Their Timelines

The DPs below illustrate how wide the timeline range can be. Each one took a different route, and each one shows that there is no single path.

Roger Deakins

Roger Deakins studied graphic design before moving to the National Film and Television School in the UK. He spent the 1970s shooting documentaries in Africa and India. His first narrative feature credit came in 1984 with “1984,” roughly 12 years after he started. His first Oscar nomination came in 1995 for “The Shawshank Redemption,” and his first Oscar win came in 2018 for Blade Runner 2049, nearly 46 years after he began.

Rachel Morrison

Rachel Morrison became the first woman nominated for the cinematography Oscar in 2018 for “Mudbound.” She graduated from NYU Tisch and then earned an AFI cinematography MFA. She spent years shooting documentaries and indie features, including “Fruitvale Station” in 2013, about 11 years after film school. Her Marvel feature “Black Panther” came in 2018, roughly 16 years into her career.

Emmanuel Lubezki

Emmanuel Lubezki studied at the Centro de Capacitación Cinematográfica in Mexico City. He shot his first feature in 1989 and received his first Oscar nomination in 1995 for “A Little Princess.” He then won three consecutive Oscars from 2014 to 2016 for “Gravity,” “Birdman,” and “The Revenant,” roughly 25 years after his first feature.

Bradford Young

Bradford Young graduated from Howard University and then earned an MFA in film at Howard. He shot indie features like “Pariah” in 2011 and broke out with “Selma” in 2014, about 10 years after film school. His Oscar nomination for “Arrival” came in 2017, roughly 13 years in.

Hoyte van Hoytema

Hoyte van Hoytema studied at the Łódź Film School in Poland. He spent years shooting Scandinavian features before “The Fighter” in 2010, about 12 years in. He has since shot “Interstellar,” “Dunkirk,” “Tenet,” and “Oppenheimer,” with his first Oscar nomination coming about 18 years after his first feature.

Three Popular Path Scenarios

The tables below show three of the most common paths. Each one is based on real career patterns reported in American Cinematographer and IndieWire craft coverage.

Scenario 1: The Film School Feature Path

Scenario 2: The Commercial and Music Video Path

Scenario 3: The Documentary and News Path

Mistakes to Avoid

The mistakes below come up again and again in craft interviews and guild-admission rejections. Each one has a direct consequence that can set a career back by years.

• Not keeping deal memos and pay stubs. The consequence is that your union application gets rejected and you have to rework paperwork, often losing a year.
• Ignoring audio and lighting fundamentals. The consequence is that directors and producers do not trust you with budget, and you stay stuck at the low end.
• Buying gear instead of renting. The consequence is that your cash flow dries up and you cannot take lower-paid creative work that builds your reel.
• Skipping the camera assistant phase. The consequence is that you cannot communicate with your own team when you become a DP, and your sets run slow and over budget.
• Staying in one city when your city has no incentives. The consequence is that you work fewer days than peers in Atlanta, Albuquerque, or Toronto, and you fall behind on union days.
• Working for free past year 2. The consequence is that you signal low value, and paying clients will not book you at market rates.
• Posting an unfocused reel. The consequence is that agents and producers cannot place you in a lane, and you lose to specialists.
• Refusing to travel. The consequence is that you miss right-to-work state opportunities and incentive-driven productions.
• Not reading the IATSE Basic Agreement. The consequence is that you agree to illegal terms or miss overtime and turnaround protections.
• Treating the DP role as only technical. The consequence is that directors pick warmer collaborators, and you lose jobs to peers with weaker reels but better chemistry.

Do’s and Don’ts

The points below apply whether you are 18 and starting out or 35 and switching careers. Each one has a reason behind it.

Do’s

• Do shoot something every week, because consistent output builds both skill and reel material that you can show to agents.
• Do read American Cinematographer cover to cover every month, because it teaches you the craft vocabulary you need on set.
• Do keep a paper trail of every paid day, because you will need it for Local 600, taxes, and SAG-AFTRA adjacent agreements.
• Do move to a production hub like Atlanta, Albuquerque, Los Angeles, or New York, because geography still shapes who gets hired.
• Do build a website and an IMDb page early, because producers Google you before they call you.

Don’ts

• Don’t chase gear you cannot rent out, because depreciation eats your savings.
• Don’t badmouth other DPs, because the community is small and the comment will reach them within days.
• Don’t ignore color science and ACES workflows, because post houses now expect DPs to speak the color pipeline.
• Don’t take a credit you did not earn, because other crew members will report it and your reel will lose trust.
• Don’t sign a work-for-hire agreement without knowing what you give up, because you can lose reel rights and residuals.

Pros and Cons of the Career

The points below are based on Bureau of Labor Statistics data and craft interviews.

Pros

• High top-end earnings, with feature DPs earning $15,000 per day or more once established, according to IndieWire craft coverage.
• Creative control over the look, which is rare in most media careers.
• Global work, since productions chase incentives across states and countries.
• Union protections through ICG Local 600, including health and pension.
• Legacy and credit, because your name stays on the film in perpetuity under Copyright Act Section 106.

Cons

• Long unpaid runway, often 3 to 5 years before steady income, which knocks many candidates out.
• Physical toll, with 12-hour days and heavy gear that cause repetitive strain injuries.
• Geographic instability, with months on location away from family.
• Boom-and-bust income, with tax complexity under IRS Publication 525 for multi-state crew.
• Gatekeeping through rosters, which can delay L.A. and N.Y. entry by years.

Key Entities in a Cinematographer’s Career

The organizations below shape the timeline in direct ways. Each one has a specific role, and understanding their rules is a basic requirement of the job.

American Society of Cinematographers (ASC)

The ASC is an invitation-only honorary society, not a union. Membership is an “ASC” post-name credit, and members are invited after sustained high-level work. The plain-English point is that ASC is a career capstone, not an entry credential. A mini-scenario: Rachel Morrison shot for 15 years before she was invited into the ASC, and the invitation came with peer sponsors already in the society.

International Cinematographers Guild, Local 600

Local 600 is the IATSE local that represents camera crew and publicists. The guild negotiates the Basic Agreement, runs the training fund, and manages classifications from loader through DP. The consequence of guild membership is scale wages, health, pension, and access to union productions.

Contract Services Administration Trust Fund

CSATF manages the Industry Experience Roster in L.A. and N.Y. under the IATSE Basic Agreement. The plain-English role is gatekeeper for union productions in those regions. A mini-scenario: Marcus hits the CSATF safety training requirements in year 3 and starts taking mandated on-set safety courses that his Georgia peers do not need.

Directors Guild of America

The DGA does not cover DPs directly, but DPs work under DGA-covered directors, and the DGA Basic Agreement shapes turnaround, prep time, and second-unit protocols. The consequence for DPs is that prep days and turnaround are often negotiated through the director’s DGA contract.

Processes and Forms You Will Encounter

The forms below are unavoidable on a U.S. union set. Each one has consequences for pay, credit, and rights.

The Deal Memo

A deal memo is a one-to-three page contract that sets your rate, dates, kit rental, and credit. The plain-English point is that the deal memo is the most important document of each job. The consequence of signing without reading is that you can waive overtime, meal penalties, or reel rights. A mini-scenario: Derek signs a deal memo that buries a “no reel use” clause on page two, and then cannot show the Super Bowl spot he shot in his portfolio.

The Start Paperwork Packet

Start paperwork usually includes a W-4, an I-9, a loan-out agreement if you have an S-corp, and a Local 600 classification form if you are union. The consequence of errors here is delayed pay and tax headaches under IRS Schedule C or your S-corp return.

The IATSE Basic Agreement

The IATSE Basic Agreement sets minimum wages, overtime, turnaround, and pension for union productions. The plain-English point is that the Basic Agreement is the floor, and individual deal memos can only go higher. A common misconception is that the Basic Agreement caps your pay, but it only sets the minimum.

Salary and Day Rate Expectations

The Bureau of Labor Statistics lists the 2023 median pay for film and video camera operators at $61,800 per year, with the top 10% above $127,000. These numbers include many non-DP roles, so working DP rates are higher.

Commercial and Music Video Rates

Commercial DP day rates commonly run from $2,500 to $15,000 depending on client, agency, and location. Music video rates run from $1,500 to $7,500 per day. The consequence of pricing yourself below market is that agencies will lock in that lower rate on future jobs.

Feature Film Rates

Feature DP weekly rates for indies under $5 million typically run $3,500 to $7,500 per week. Studio features pay $15,000 to $50,000 per week or more. The consequence of a first studio feature is that your quote often doubles on the next job. A mini-scenario: Aisha’s first studio feature pays $18,000 per week, and her next studio offer comes in at $35,000 per week six months later.

Episodic Television Rates

Episodic DP rates on streaming dramas commonly run $12,000 to $25,000 per week under WGA-covered productions, though the DP is not in the WGA. The consequence of episodic work is steady income for 4 to 8 months per season, which stabilizes the cash flow problems of feature work.

Court Rulings and Precedents That Shape the Job

A few court rulings directly affect cinematographers. Each one has a practical consequence on set.

Community for Creative Non-Violence v. Reid

The Supreme Court’s 1989 ruling in CCNV v. Reid set the test for whether a worker is an employee or an independent contractor under the Copyright Act. The plain-English consequence for DPs is that without a signed work-for-hire agreement and a true employee relationship, the DP may actually own the copyright in the footage. A mini-scenario: Jordan shoots a short as an independent contractor without a work-for-hire clause, and under Reid, the court finds Jordan owns the footage.

Garcia v. Google

The Ninth Circuit’s en banc ruling in Garcia v. Google in 2015 held that an individual performer generally does not have a separate copyright in their performance within a film. The consequence for DPs is that the film as a whole is the copyrighted work, and individual contributions are governed by contract, not separate copyrights.

16 Casa Duse v. Merkin

The Second Circuit’s 2015 ruling in 16 Casa Duse v. Merkin held that a film director did not have a separate copyright in the film absent a written agreement. The plain-English consequence for DPs is the same: your rights come from your contract, not from automatic authorship, so the deal memo is the whole game.

State-by-State Nuances

Federal copyright and federal labor law set the floor, and state rules add the variation. The points below cover the most important state-level differences for cinematographers.

Right-to-Work States

Georgia, Florida, Texas, North Carolina, Tennessee, and Arizona are right-to-work states. The plain-English effect is that you cannot be required to join a union as a condition of employment, even on union productions. The consequence is that non-union crew can work union shows, which speeds up day-count but slows union benefits.

California and New York

California and New York are not right-to-work states, and most major productions there are fully union. The consequence is that roster status matters more, and the CSATF roster process takes longer to complete. A mini-scenario: Sofia works 30 non-roster days on a union commercial in L.A. in year 4, qualifies for the roster in year 5, and starts getting called for union features in year 6.

Incentive Leaders

Georgia, New Mexico, New York, and Louisiana lead on film incentives, and New Mexico’s film tax credit can reach 40% with uplift. The consequence is that camera crew in these states often work more days per year than peers in non-incentive states, which compresses the timeline to union days.

FAQs

Can you become a cinematographer without film school?

Yes. Many working DPs are self-taught or came up through weddings, YouTube, and commercials. Film school helps with network and reel time, but is not required for a DP career.

Do you need to be in a union to work as a DP?

No. Non-union DPs work every day on commercials, music videos, indie features, and documentaries. Union membership opens studio films and streaming episodic work.

Is a cinematographer the same as a Director of Photography?

Yes. The two titles mean the same job in U.S. productions. Some European crews use cinematographer for the author and DP for the on-set lead, but U.S. practice treats them as interchangeable.

Can you make a living as a cinematographer in your first year?

No. Almost no one earns a full living as a DP in year one. Paid work usually starts at the assistant or wedding level, and DP-rate income builds over 3 to 7 years.

Do cinematographers own the footage they shoot?

No. Under standard work-for-hire agreements and 17 U.S.C. § 101, the hiring party owns the footage. Without a written agreement, ownership can fall to the creator.

Is film school worth the cost?

Yes. For many people, the network, reel time, and faculty access justify the tuition. The answer depends on whether you can keep debt low enough to take creative jobs after graduation.

Can a wedding videographer become a feature DP?

Yes. Several working commercial and feature DPs started in weddings. The key is converting wedding income into cinema gear, a narrative reel, and paid commercial work over 3 to 5 years.

Do you need to live in Los Angeles to be a cinematographer?

No. Atlanta, Albuquerque, New York, and Vancouver offer strong work. Los Angeles still has the most agent and studio meetings, but incentive cities now host most physical production.

Is cinematography a stable career?

No. Income is project-based and irregular, with boom-and-bust cycles tied to strikes, incentives, and studio spending. Union work and episodic TV provide the most stability.

Can you become a DP after age 40?

Yes. Career-changers from photography, journalism, editing, and directing become DPs later in life. The timeline is similar, but prior visual skills often shorten the reel-building phase.

How many days do you need for ICG Local 600?

Yes, 100 days is the standard requirement. The Local 600 membership page lists the exact classifications and documentation required for application.

Does a cinematography degree guarantee work?

No. No degree guarantees a cinematography career. A degree plus a strong reel, a production-hub location, and a network gives the best odds of steady work.