This is a job in which your education is not important. Well, it is to the extent that it has prepared you with the right skills, but for studio work, no one cares where you went to school (or IF you went to school). It's skill-driven. To do film work and similar recording projects, you need to be extremely fluent on your instrument overall, an outstanding sightreader, proficient in many styles and techniques, and experienced at following any and all conducting. And you need to be known by the local contractors. The contractors are the people hired by conductors, studios or organizations to form pick-up groups (ensembles gathered for a specific project, as opposed to a long-term orchestra with fixed personnel). The conductor will often have a few key people in mind, like the concertmaster and featured soloists, but the contractors choose the rest, so you need to get in their radar. Even in a big city, there are only a few people contracting all the big jobs, and actually, a pretty small group of musicians who play for almost everything. The world of classical professionals is small, and when you narrow it down to fantastic readers who can play many styles and be dependable in general, that world is even smaller. So if you get known as someone who can do these things, you'll get to play a lot. Piano is competitive, but there is work. Film scores usually have piano parts, and some have several pianists playing at once. If you know anyone (or friend-of-a-friend) who plays for a lot of high-level classical events in your area, ask them who usually contracts them for those jobs. Film work isn't classical playing, but those are the players they'll use. Then you can talk directly to the contractor and ask them what they would want to see from you to get work. I don't expect it would be an audition, exactly, but they'd want a demo or a chance to hear you in other concerts. The contractor's reputation is based on being in the know about who's good at what, and who's reliable, easy to work with, has any unusual skills etc. I have a pianist friend who does major film work, and he really likes it but says it's pretty high-pressure. Everything has to be perfect right away, and sometimes works are conducted by their composers who might be terrible conductors, and you still have to give them what they want even when it's hard to tell just what that is. And huge amounts of money are being spent every minute, so when things go wrong, someone gets apoplectic. But obviously there's excitement in all that, and the money's great.
Hope that's helpful. Good luck!
Topic: How do I get into an Orchestra?