Every DIY indie film project wants to cut production costs and get everything for free. However, sometimes, free is too expensive: you pay for it with poor quality, flaky team-members and film that is not watchable (or really expensive to fix in post).
I'm a cheapskate by nature (what DIY filmmaker isn't?) but some things you need to find the money to do right.
I recently got a reality check thanks to a DP I'm interviewing for my next film, In-World War.
I had only budgeted a small amount for the DP and sound recordist, with no money for any other crew or even any grip equipment. My thinking was this: we have a ton of (unpaid intern) PAs that can serve as grips and department assistants, and we will film it verite with available light (i.e. cheap).
The prospective DP let me know that just wouldn't work, particularly for a project as ambitious as ours.
Here are the things he said were essential:
- Art department: Amazingly enough, he said he'd cut AC (Assistant Cameraperson) before cutting the art department, since we need to be able to dress sets and make them work for us. Be sure to have an art director and a budget for them to work with.
- Assistant Cameraperson (AC): Another crucial role that really allows the DP/camera operator to do their job. The AC pulls focus and acts like the DP's right hand, prepping the camera and keeping things moving quickly. You want the DP focused on the shot, not the gear.
- Gaffer and light kit: Filmmaking is the art of capturing light. No light = no movie. The gaffer is the department head responsible for lighting the scenes (under the direction of the DP) and to make this possible, you need to have the lights too. Budget for both.
- Grip equipment: In order for the film crew to do their jobs, they need the tools of the trade. From C stands to shades to apple boxes, you'd be surprised how necessary the simple, non-sexy grip equipment turns out to be. You can rent fully-loaded grip trucks or go cheap (like we did on Quality of Life) and get a smaller (cheaper) grip van. We even used the van as the main character's vehicle in the film itself. Classic DIY style.
It was tempting to think I could get away with location light and decor, using relatively inexperienced PAs as these key staff. But these are the key roles that will determine the look and professionalism of the film. Even a verite, naturalistic approach requires that the film be watchable.
It doesn't have to be expensive. You don't have to pay the usual commercial day rates particularly for people that are jumping up the ladder (for instance, you should target experienced 2nd ACs who want experience to be 1st ACs, and are willing to work for much less per day to build their resume). Even the lighting and grip equipment can be had for much cheaper weekly and multi-week rates. Never pay full price when you do cough up real cash.
Production value in these areas can't be added in post-production, so do the job right on the set and hire the pros to make sure your film is worth watching.
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