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On SmashWords9 Tips for a Smoother Low Budget Film Production
Welcome to the DOJO!
A day or so ago I received an email from a regular (and very verbal, which I like) reader of the Film Sensei website who goes by the handle of ZeenonProd. Ol’ ZeenonProd was responding to the article I wrote entitled Six Quick Tips to Keep Your Low Budget Film From Sucking. It seems that he thought my article was a bit lacking…let’s see what he had to say:
Matt, dude. Gr8 to see U back updating ur site. Just read ur post about tips for keeping ur film from sucking. It was O.K. but didn’t really tell me anything I haven’t already heard b4. It was all basic. Can U tell me anything more specific to help out on the film I’m about to start from ur personal experience? Give me the dirt from what U have had happen. Thx, brutha. -ZeenonProd
ZeenonProd!
Thanks for the email and the great question. To start off, I’m sorry you didn’t get more out of the “Six Quick Tips” post. The reason the information was basic is because there are a lot of brand new filmmakers out there who don’t know where to start and don’t know how things work for indie and guerrilla filmmaking. I like to aim a lot of articles and posts at those guys because they really want help and have no clue where to go to get it — if they go by some of the more popular indie or dv filmmaking forums, they tend to get mocked or talked down to. There are only so many times a new low budget filmmaker wants to get yelled at for asking “basic questions” or told to “shut up and search the forum.” It’s sad how unhelpful a lot of the forums are for guys who are just starting out.
However, I can understand guys with a bit more experience wanting some more in-depth filmmaking tips from someone who has gone through the microbudget filmmaking experience a few times. So today, in honor of ZeenonProd, I have put together my off-beat new article entitled:
9 Tips for a Smoother Low Budget Film Production
1. Hire Excitement over Experience
This is probably going to seem like an incredibly insane statement, but here it goes: if you want to make sure your low budget or guerrilla film runs smoothly and quickly, then excitement and love of the project should win out over a more experienced candidate any day of the week. What I mean by that is that someone with less experience and who is truly in love with the project itself is going to work 100 times harder and give 200% more of themselves to your project than an uninterested, more experienced crew person. You have to remember that you’re asking people to work for little (or no) money, for long hours and over an extended period (sometimes months or more). If you want them to stick around and give their “all” in spite of gruelling circumstances, then you want someone with a huge amount of enthusiasm.
For me, the key to picking crew members is to make sure they’ve read the script before I meet with them. If they’ve read the script and seem genuinely excited about it (and can answer a few discretely posed questions about it), then they are in the running for getting hired. All too often, especially being as close to LA as I am, I’ve had ultra experience people come in for an interview who have absolutely no clue about the film, don’t care about the subject matter and are really just coming out because they have an opening in their schedule, need some quick cash or want more experience (regardless of the script). These people can have all the experience in the universe, but you will run in to more problems with them on set a lot of the time.
For example, on a past shoot I had a fantastic DP — tons of experience and a fantastic reel — amazing work. Unfortunately, he had no real interest in the project itself, didn’t care for the genre and was more interested in getting access to high end equipment than solving problems creatively. With this person it literally became an issue that we weren’t using Matthews brand sandbags. Now, that’s an extreme example for sure, but it illustrates the point well — genuine love and interest in the project itself should win out over experience alone. Obviously, if you can get both then you’re gold. Just remember, with a low budget film it’s usually your money at stake and you want to make sure to get a crew with the endurance, excitement and enthusiasm to carry things through to the end. Trust me on this one, you’ll thank me in the long run.
2. You don’t necessarily need a DP
Ok, now it’s going to seem like I’m harping on DPs pretty hard right now, but I’m not. When it comes right down to it, your biggest time sink is often your DP. They are generally the “artiste” on your film and will cause the biggest log jams in terms of getting things done on time during your shoot. If, for some reason, you are not your own DP (which I recommend for most guerrilla filmmakers) then what you want to do is to hire an experienced gaffer and strong AD. Pair that team with a good camera person and just direct their work. You’ll find out that things will move exponentially faster than if you have a “real” DP on set. You’ll help the cameraman choose the shot, then turn things over to the gaffer to get it lit correctly and the AD will make sure it all gets done on time. On all set-ups you want to make sure the AD has set a time limit for how long it should take and that he makes sure the gaffer/cameraman (or DP if you do decide to have one) stick to that schedule. Anything more than a 10-15 minute set-up it too long for 99% of your shots, especially indoors.
Now, the secret here is to “promote” your camera operator to full DP position once the project has started…once he’s prooven that he can stay out of the way and let things get done on time. In my experience I’ve found this works better than hiring the camera op as a DP right off the bat. For some reason a “promoted” DP will almost always work more efficiently than one you’ve hired upfront as a DP. Maybe I’m crazy, but that’s what I’ve found. There’s just something about the title of “director of photography” or “cinematographer” that goes to a person’s head.
3. Small crews are better
The one thing that will kill a production and cause things to slow down beyond imagining is a big crew. The more people you have on set, the slower things will go. I’ve found the best crew set up to have 7 people — a camera operator, a sound guy, a gaffer, a PA (who bounces between the gaffer and being a camera assistant), a wardrobe/make-up person, an AD and the Director. Any more than that for a standard low budget shoot and you’re asking for trouble — and, yes, I realize the craft services team has to come in (for a microbudget film this is often made up of family members) and you might need a special effects team for your horror flick. Those are acceptable to add, but I don’t count them as the core “production team.” The only other person you might want to add is a PA as your script supervisor — a lot of times I have my AD or make-up person also acting as the script supervisor, but that’s me. Just remember, the more people you have on crew, the more people you have to feed every day — actors may come and go, depending on the day, but your crew is always there and always hungry.
Remember, 5 extra PAs may seem like a huge amount of help on your film, but that’s not always the case on an indie or guerrilla film. One way to save a spot is to be your own camera operator. I don’t like running the camera myself because I feel it takes away from a director’s interaction with his cast, but some directors do it all. If that works for you, then you’ve either got a tighter crew or the ability to add on another PA or some other position you find essential.
Oh, if you’re just giving your crew stale donuts and water, then completely ignore this advice. Hire as much crew as you need! Me? I’m tubby and like to make sure everyone eats well (especially me).
4. “Special Needs” crew members aren’t worth the trouble!
This is going to come off a bit harsh and intolerant, so I apologize upfront. One of the biggest issues I had on a recent shoot came from a number of crew members who had special dietary needs. At first, this didn’t seem like a big deal but it turned in to a pretty major fiasco on set. Finding that “special needs” food and making sure it was hot and ready at 1am in the morning turned out to be next to impossible. It wasn’t worth the time or the hassle it caused. If you hire a crew member and they turn out to be someone with a dietary requirement, make sure to let them know that you can’t change the craft services plan for a few people. Give them the option of bringing their own food, of picking through what you provide or figure out what percentage of the craft services budget they are and offer to give them that cash as a food budget. The downside with that last option is that it will often amount to under $5 per day since you’re buying food in bulk.
While I’m on the subject of food, make sure to at least offer bottled water. It’s cheap from places like Costco and will go a long way with your crew. If you can add in Koolaid or some other cheap mixed drink for lunch, that’s cool too. Offering sodas or “power drinks” is a one-way ticket to blowing a large portion of your budget. Besides, everyone loves Koolaid, right? Right?
5. Two for One isn’t always a good deal when it comes to hiring your crew
On a recent shoot, the absolute dumbest thing I did was hire a husband-wife team for my AD and lead actor respectively. Horrible, horrible idea because when it came down to the shoot, the AD was constantly bowing down to her husband instead of doing her job. Even worse, when we wound up having problems with one it would carry over to the other. Not a good thing and definitely not a good thing when it came down to two of the mist important jobs on the film. Another situation you run in to if there is trouble is that firing one means firing both. What I learned very quickly that it’s ok to have lesser roles tied together, but avoid having those sort of relationships when it comes to the larger roles — nothing good will come out of it. If you can’t afford to have both positions walk away during a shoot then the best idea is to make sure it isn’t an option. As a producer or director you want to make sure you aren’t giving up control of your film to an uninvested party.
6. Get a Good Assistant Director
I’ve already mentioned this earlier, but having a strong AD is going to be your biggest asset during your actual shoot. You need that strong right hand to make sure all of the little (and a lot of the big) details get done so you don’t have to worry about them and can focus on your job: directing. Get a person with a strong enough personality to take charge of the various (and often large) egos on set, someone who isn’t afraid to open their mouth and yell a bit, someone who is anal about schedules and scheduling and, most important, someone who believes not only in the film 100% but also believes in your vision as director 110%. The AD is your biggest supporter and your most important crew member on set. Make sure to pick someone good.
7. Get your contracts & releases signed
An important item that gets glossed over and forgotten on a lot of indie and low budget productions is making sure to have all contracts, agreements and releases signed and collected before you start shooting. If it gets close to the start of shooting and you still don’t have image releases (or any other paperwork) from cast or crew, then it’s time to hire someone else. Never — and I repeat, NEVER — allow anyone on to set to work who hasn’t turned in their paperwork. Period. Doing so will cause you problems and may keep you from getting your film distributed.
8. Titles don’t mean Shit!
The above pretty much says it all. On a microbudget, guerrilla, indie, low budget (or whatever else you want to call it) film, everyone has to do everything. If you’re the director and you’re standing next to a light that needs to be moved — MOVE IT! If you’re breaking down equipment at the end of the day — HELP OUT! The harder the crew sees you working, the harder they will work in return. If you just sit back and shoot the breeze with your actors, expecting the crew to get things done, then you won’t get as much out of them. This isn’t a union film, buddy! Grab those C-Stands and get to work!
9. Give respect
The one thing that a lot of people forget on set is common courtesy and to give respect to the people they are working with. This happens a lot with DPs and Directors both. They forget that they are dealing with real people with real feelings and, most important, people who are often volunteering their time and energy to the project. The absolute most important thing you can do as a director is to set a good example. Make sure to say “thank you” to your hard working crew as much as possible. Be courteous to them. Let them know how much you appreciate the work they are doing and the time they are giving you — remember that without them you have no film. There’s no excuse to be a dick on set and no reason.
And that, my friends, is all of the wisdom I have to expound upon for the moment. Hopefully my experience from the past will help you out a bit on your upcoming low budget film. I know that I wish I had known these things back when I was putting together my first couple of films…it would have saved me a huge amount of trouble and more than a little money.
Until next time, my friends, Keep Shooting!
-Mat Nastos, the Film Sensei
http://www.FilmSensei.com
Related posts:
- Six Quick Tips to Keep Your Low Budget Film From Sucking
- Independent Filmmaking Tips: Top 5 Things You Need To Know When Making Your Low Budget Film
- Indie Film Distribution — Caachi Answers the Call from Low Budget Films in Need of a Distributor
- Film School Alternatives — What About How to Learn Filmmaking Courses on DVD?
- Top 10 Essential Equipment for Indie Filmmakers: Part II – Audio
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Mat,
I’m in the pre-production stage of shooting my first short film and am interested in more detail about #7: Get releases and contracts signed. This will probably not fully apply to me since I am doing the film for school and working with a professor but for the future or even for this project (something i may not have thought about) what types of releases do you require crew and cast to sign and where can I get these release forms. Since I am not paying anyone and do not plan on trying to distribute for profit am I exempt from these things or should I still have some general things signed. Again, this is my first project, so I can really use all the advice I can get at this point. I appreciate your site, and look forward to a response.
Bobby
February 19th, 2010 at 9:05 am
Your article is spot on. Contracts are a MUST and its worth the trouble to get everyone to sign before day one of principal photography.
We shot “Shadow of Crime” (http://www.vimeo.com/4103913 ) low budget, and we had a three man crew for our full feature film.
It’s interesting how the actors were acting to that, at first they were very unsure and we had to constantly show them footage..to give them the confidence the film was being made properly..because of the size of the HV20…
we had sag actors on our set so they were used to larger productions but they loved our script and we were professional about everything …we knew a few of the actors so they worked under deferment.
We love filmmaking and that has to be the HEART of your FILM..
When you show up on a low budget professtional set, and they seen a HV20, they all wondering what was going on with the pee-shooter..lol…we just show’d them footage as we went and they were very surprised what a small talented crew could produce.
I would have to agree, with three people it made some things very easy..we had more control over our set and since we knew what we wanted, and didnt have to relay the message to other people of what we wanted, we lost time from have to multitask a bit and carrying set lights and props – but gained time from the tight crew with set up so it balanced out.
Great BLOG!
October 4th, 2010 at 4:58 pm