VERTIBLOG Film School IX - THE $1,000 MOVIE, Part 8

PRE PRODUCTION (continued)

STEP 2. FIND YOUR CAST/CREW
Step 2b: Finding your crew

OK. Up until this point, the differences in approach to a $1,000 as opposed to a $30,000 movie have been pretty small. In fact, with the exception of the casting protocol, everything I've spoken about applies to pretty much any budget movie. But the way you recruit your crew in the $1,000 world... that's quite a bit different than with the $15,000 or $30,000 picture.

STEP 2. FIND YOUR CAST/CREW
Step 2b: Finding your crew
I. Director of Photography

First off... your DP. Arguably, after you, the most important person on the crew. You're going to want to somebody with some chops. And you don't want it to be you. You want to be looking at a monitor during takes, studying composition, studying takes. Or perhaps you want to be closer to your actors. Either way, with a camera on your shoulder, is pretty impossible.

The first thing you should do is aim high. That video production company you contacted regarding actors? Ask them about DPs, too. Many of the guys that work corporate/industrial gigs are similar to the actors they shoot -- they want to make movies. The problem they face in realizing their dreams, though, is the cash they make on these corporate/industrial gigs. A good DP gets between $400-$600 a day in a small-medium sized market. That's without a camera. That's just them showing up. It must be tough for them to turn that down for a stinky little independent film.

But try to convince them.

These guys are usually pretty cool. You don't get to be a regularly-used corporate DP by being an asshole.

And if find a guy having a slow summer, and with a relatively fat bank account, and a desire to make art? Your chances are certainly in the double digits.

Here's the rub, though. You only have a $1,000 total budget.

************BUDGET UPDATE***************

So far, all we've spent is $15.00 for the Filmmaker's Software. So we have $985 remaining. Looking ahead to our shoot, we're going to have to feed our crew. That's gonna cost us about $30.00 a day (details later on some tricks, but you're going to have to pony up for something). We're talking a 9 day shoot, so that's $270.00, leaving us with $715. We certainly don't want to completely shoot our wad on the DP, but if you can find a willing pro, you don't want to let him go. Offer him $50 a day, a deferment of half of his day rate, and some points in the movie. That's $450 to your DP, leaving you with $265.

definition: deferment/points - A deferment is a binding promise (make it in writing) to pay a cast/crew member an agreed upon rate, at some time in the future, if the movie ever makes a profit. Now, turning a profit IS a possibility; things like public screening and small run DVD sales ARE in your future, if you choose. And you WILL see a return if your pursue it enough. A deferment simply says... I won't forget you. It's a good faith gesture.

Now... points are something completely different. Points are a guaranteed interest in the movie, in the form of a percentage. Here you're saying, if this movie ever sees any money, you're guaranteed a cut of it. You're a partner. This way, if your film becomes the next BLAIR WITCH PROJECT, they are in a position to make a LOT of money.

So... call that production company and get some names. Each company probably has the names of five or six guys in the area that they use regularly. And I can't imagine why they wouldn't give you their contact info. Also... each of these five or six guys, if not interested or if unavailable, will probably have several other names to offer you, as well.

The first thing your should tell your DP is that you'll shoot around their schedule. And let them give you a start a start date. Also, offer up your script immediately, and ask them not to make a decision until they read it. If they agree to that, you're in pretty good shape (considering your script is as good as you hope it is).

Another strong point to finding a 'real' DP is that many of them have pretty good cameras. Maybe not big boy HD cams, but they may have a very nice 16:9, 24p prosumer camcorder -- which is exactly what you looking for (much more on cameras later).

Let's say you strike out. No professional DP will touch you.

Remember the Mass Film Bureau and New England Film? Put a listing up there for a DP. Lots of people browse and lurk these sites, including wannabe/newbie DPs who may be green, but may also have some chops you can exploit.

At the same time, head back to the local college and university scene, and track down a faculty member in the Film/Television/Broadcasting department. Tell them who you're looking for: that young, hungry, talented camera operator who has impressed them in their video production classes. Somebody who just needs a shot.

The thing you want to make sure you do, with any DP is get a look at their reel. The pros will have one, but the wannabees and students most likely won't. From them, you at least want to see something that they've shot -- a school project or a short film.


STEP 2. FIND YOUR CAST/CREW
Step 2b: Finding your crew
II. Sound Mixer

The second most important crew member you'll be looking for will be your sound mixer. This is a guy who has some experience gathering audio on field shoots from a boom pole/fishpole using a shotgun microphone. Preferably, this person will own all of his/her own gear. But, while pro/semi-pro DPs may be willing to take a cut in pay on an independent film to expand their experience/reels, sound guys may be less willing. While good DPs tend to be "artists", sound mixers tend to be craftsmen or technicians.

At the very least, you're going to need the gear below to get what you need aurally:

-Fishpole w/ shock mount
-Shotgun microphone
-Audio (XLR cables)
-Headphones

In all honesty, this is where you're going to have to spend some more cash. The chances of you finding an audio guy,with this gear, who is willing to work for pretty much free, is close to nil.

Now, you could easily spend $3,000.00 on the microphone alone. But of course, you won't. There are several low-priced solutions that will give you passable sound.

Here's what I suggest you do... spend a hour or so surfing through Google Groups using key words like "affordable", or "cheap" "shotgun microphones", and "boom pole", and "independent film". You'll find plenty of links, reviews, opinions...etc on various solutions. Go into it expecting to spend about $250 for the whole package. This is a case of "you get what you pay for", and as soon as you graduate to higher budgeted features, you'll throw all of this stuff out.

Regarding the sound mixer himself, again... first aim high. Seek out pros and see if you get a bite. Offer them the $250 and a deferment, and points. Maybe you'll get lucky. Check out the colleges and maybe you'll find that young student that has some experience and can "borrow" the gear from the school. It would certainly be better than you get for $250.

If you have no luck with any of that, then maybe your sound guy ends up being your little brother. In all honesty, it's not rocket science to get competent sound. It'll cause you headaches in post, but it'll be there, on tape. It is nearly rocket science to get great sound... but that's why pro sound mixers make the big bucks.

Have your little brother spend some time in the library and on-line, researching location sound techniques. There's plenty of info out there to learn.

(continued)
© 2006 by Marty Langford