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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

What 3-4 key crew positions would you hire for your micro-budget feature?

What 3-4 key crew positions would you hire for your micro-budget feature?

  • Line Producer/UPM

    Votes: 2 6.1%

  • 1st AD

    Votes: 7 21.2%

  • Scripty

    Votes: 0 0.0%

  • 1st AC

    Votes: 6 18.2%

  • Gaffer

    Votes: 2 6.1%

  • Key Grip

    Votes: 1 3.0%

  • Sound Mixer

    Votes: 7 21.2%

  • Boom Op

    Votes: 2 6.1%

  • Production Designer

    Votes: 6 18.2%
  • Total voters
    33
1st AD for me no doubt since I am always the Producer (or one of them) Director & DP on my projects, at only exception of this last Fashion Film we just wrapped were I had a great DP.

Immediate second choice if recording Sound would be the Sound Mixer.

Third would be a Gaffer.

Fourth a Key-Grip
 
KETCH ROSSi said:
1st AD for me no doubt since I am always the Producer (or one of them) Director & DP on my projects, at only exception of this last Fashion Film we just wrapped were I had a great DP.

Immediate second choice if recording Sound would be the Sound Mixer.

Third would be a Gaffer.

Fourth a Key-Grip
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I agree about the AD Ketch, but I can't live without my AC.
 
Carey Lee Coffey said:
You only have enough money in the budget to hire 3-4 professional on-set crew positions, besides yourself - which would give you 5 professionals on set. The rest of the crew will have to be recent film school grads. Which 3-4 professionals would you hire?
Click to expand...
Raise more money.
 
Brandon J.F. said:
One other thought... You really should have enough media (picture and sound) to get through the whole day without having to dump data and format. You really don't want to deal with this when you have such a small crew. Dump the data and backup after you wrap for the day.
Click to expand...

only problem there is what if (lord forbid) something gets corrupted and you've already changed all your setups, it is kind of nice to get that assurance when you're about to move on... just sayin'

Marc Wielage said:
Raise more money.
Click to expand...

always the voice of reason... and easier said than done, especially when you're stuck with a no-budget project.
it's not like anyone tries to have a no-budget project. unless you're as insane as me... ;)
 
Been watching this thread and thinking about this. This doesn't fit your scope, but this would be my crew.

Director
DP
AC
Sound
Gaffer
Grip
Production Design
HMUW
PA
Editor

That's ten people, not 3-4, but you are better off paying professionals, even with small wages and begging for favors than you will be populating your shoot with students. If you are in a single location, with no props, you can probably lose the production designer. Shoots, regardless of size, always need support - someone to go on runs and worry about the food, etc - a good PA, who also has the skills to double as back-up to some of the other positions, as needed, will add a lot of value. It's important to have someone who can leave the set to trouble-shoot, work ahead, etc. I am also a big fan of having someone assembling the edit as you shoot. This can actually save you a lot of time and money over doing it later. And spare you from inertia at the end of the shoot.
 
I'll take this challenge...

1) Director / AD / Producer / Writer / Camera "AC" to "Cam Op"
2) DP / Gaffer / Producer / Key Grip / Art Department / UPM
3) Writer / Producer / Script Super / DIT / Editor / Grip
4) Sound / Boom Op / Key Grip
5) Nope... think I'm good with 4.

A focused crew is better than a big crew... striving for excellence over complacency and lack of responsibility.
Expect more... pay more for capable people, then keep working with the ones who have talent/work ethic.

I'll revise at some point.

The idea is that each role has two jobs/responsibilities.
- Setup before rolling and after
- While Camera's are rolling

The first role for example:

1) Director / AD / Producer / Writer/ Camera "AC" to "Cam Op"

Production work is done before and after shooting. When camera's roll... producer duties shutdown...
Director and AD being the same person makes sense. This is the leader of the team...
In addition to his work with talent, the director is not sitting at his monitoring... he's engaged pulling focus or running the camera.

Love to hear your thoughts and critiques...
 
Last edited:
Meryem,

With all DUE respect, this model is totally broken and antiquated. Everyone contributes to making their own meals... no need for running around when your crew is responsible for each other... COOPeration.

Meryem Ersoz said:
Been watching this thread and thinking about this. This doesn't fit your scope, but this would be my crew.

Director
DP
AC
Sound
Gaffer
Grip
Production Design
HMUW
PA
Editor

That's ten people, not 3-4, but you are better off paying professionals, even with small wages and begging for favors than you will be populating your shoot with students. If you are in a single location, with no props, you can probably lose the production designer. Shoots, regardless of size, always need support - someone to go on runs and worry about the food, etc - a good PA, who also has the skills to double as back-up to some of the other positions, as needed, will add a lot of value. It's important to have someone who can leave the set to trouble-shoot, work ahead, etc. I am also a big fan of having someone assembling the edit as you shoot. This can actually save you a lot of time and money over doing it later. And spare you from inertia at the end of the shoot.
Click to expand...
 
Will Keir said:
Somebody loves their professional Grips!
Click to expand...

Well yes. In reality in order to get a healthy shooting day done hands on deck can help make that happen. If we're talking super small budget and in the realm of 16-36 setups or more in a day having somebody around who can't help with gear becomes a liability.

All of that said i've been on sets with crews of 100+ and for me that's where biggest strengths and weaknesses can be found. On one side you have enough people to get work done efficiently and very quickly. I think back to a 12 foot scaffolding assembled in about 15 minutes on Land of the Lost right before my eyes and recall thinking to myself "this is how it's done". However, on the other side you certainly have a lot of people getting paid to "hurry up and wait", which was told to me early on in my career. Oddly I found that was only true part of the time as the more you get involved the more you have to do on set.

Outside of what this thread is about I will stress that hair, makeup, art dept, and wardrobe are crucial roles to populate if you are looking to increase the production value on a project.

In the last two years I've balanced between having a DIT on set and not, which has been interesting. On a lot of smaller shoots I manage, including what I'm working on now, I'm the whole package when it comes to camera through post. I'm okay with this as I've developing my skill set and my personal desires towards "what the job is" in this general direction. I enjoy a lot of the different types of work that gets thrown my way and in some ways I feel it keeps me fresh.
 
My thoughts:

I'm not making the next "Lord Of The Rings", I'm making a stripped down film with a great script, with very talented and professional SAG actors and an experienced and talented Producer/Director/DP (me).

My four, and why:

1. I want a 1st AD to take to daily organizational tasks, scheduling, organizing, keeping the train moving and on schedule, the "busy work" etc. I want my AD to be my voice on set so that I am not constantly walking around giving directions to everyone, all of the time. I want to focus 100% on the creative aspects of making this film. My actors, my lighting, the overall look and feel of the film, the tone, the shots etc. Everything creative. I cannot be bogged down by the other details. It's too much. I'll be my own DIT too, since I can do that in my sleep without having to use any brain cells.

2. I need my 1st AC to be a pro who can set up and break down my camera, handle the slate, pull focus, take the camera off of my hands between takes etc. I want this to be someone who has several features under their belt. This is my technical sidekick.

3 & 4. I need a pro sound dept. That means a mixer and a boom op. Two positions. I don't want to spend one second thinking about sound. These are the guys I set and forget, because I trust that they will get it all and get it perfect. I need pros here so that I can have peace of mind and focus on creating.

I will be my own gaffer, with the help of a couple of film students who aced their lighting courses and who have an interest or focus in lighting. As long as I can communicate with them, and they anticipate my needs and take initiative, I will be fine here. I know the look I want for each shot and I know the lights I need to use and where to put those lights. I will lead this crew, get them started setting up what lights, flags etc. I need and where I need them, and leave them to it while I work on other things.

I'll have a PA helping the sound dept. and a PA as my assistant/runner. He or she will know the script, make sure we get all of our coverage and act as scripty if an actor calls for a line. I will handle the eye lines and also make sure we get all of our coverage. My runner will run to get lunch and set up and break down craft services with the help of anyone who has an extra hand.

So here's my crew:

1. Producer/Director/DP/Co-Gaffer/Production Designer/Props/Make Up and Hair/DIT/Editor & Post Sound
2. Professional - 1st AD
3. Professional - 1st AC
4. Professional - Sound Mixer
5. Professional - Boom Op
6. Film Grad - Gaffer #2/Grip
7. Film Grad - Grip
8. Film Grad - PA (sound dept.)
9. Film Grad - Runner/Crafty

By the way, the film only has 4 actors, so that will be 13 people, on set, total.

(Yes, I can handle Production Design, Make up, Hair and Props myself.)
 
Carey, I would say make sure you have a BTS person filming this whole thing so people can see the pros and cons of this approach. Ultimately, do whatever it takes to make a film you are happy with and that doesn't kill your crew. It sounds to me that the limited locations is what will help you achieve this. If you were having to do any kind of company moves or complex setups, I would probably argue against you wearing all of those hats (no matter how talented you are) and that's only me speaking from experience of seeing this done at the ultra low budget level where all hands are on deck and the Hollywood studio level where our crews are sometimes enormous. Having people dedicated to one position can have its benefits. But I have had a lot of fun on smaller shoots too.
 
Thanks Steve. Yeah, the other thing I have in my favor is the fact that I've been in preproduction for 3 years. The locations, props, wardrobe, production design - have all been thoroughly, thoroughly gone over with a fine-toothed comb. Every single detail has been planned with precision and patience. Great films are made in preproduction. It's the old triangle: Cheap/Fast/Good - pick two. I chose to go cheap and good when I started this project in 2011. I wanted to make a film that I could finance with 100% of my own money. I've been down the investor road. It doesn't interest me. What interests me is telling the story that I'm driven to tell. No matter how long it takes. I don't even care if the film ever sells or not. Money doesn't drive me. Making something out of nothing does. If the film "fails" financially, It won't phase me as long as I made the film that I intended to make. As long as I make a film that I am proud of.

Edit: Oh, and one more thing: I'm shooting 4 pages a day.
 
paulherrin said:
always the voice of reason... and easier said than done, especially when you're stuck with a no-budget project.
it's not like anyone tries to have a no-budget project. unless you're as insane as me... ;)
Click to expand...
It's never too late to wait and try Kickstarter or Slated or one of those and try to raise more money through outside investors:

https://www.slated.com

http://indiegogo.com

http://kickstarter.com

https://www.fundable.com

http://www.gofundme.com

As hard as it is to write, produce, direct, shoot, and edit a project, I think the two single most difficult aspects are funding (at the very beginning) and distribution at the very end). I know of a handful of indie feature projects you wouldn't believe managed to raise several million dollars by going this route. If you can find just 50 people to invest $500 each, you'd be able to hire at least a half-dozen more people and make your film that much better.
 
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