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

[Meryem Ersoz]

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.

But there's really nothing antiquated about this model. The model should fit the film. Without an actual script in hand, it is actually quite challenging to ascertain what the appropriate model is.

But I don't think 9-10 people is antiquated for even a low budget feature - Carey is using the same number. He is just willing to use students to fill in, where I am advising to use more experienced crew, and he is accentuating different roles over the ones I have selected.

I will say that if you intend to use SAG actors with real credits as a selling point to your film, even at the micro-budget level, I think they would be very uncomfortable without at least one team member representing the vanities. For an actor, it is all about looking and feeling as good as they possibly can before they enter the set. It's a little bit like hiring a DP but not giving him a camera. Their looks are their brand. If you are using no name SAG actors, then this isn't necessary. It's still courteous, though.

But cutting that job is really script-dependent, and you risk continuity errors if you don't have someone attending to your actors.

I would say the same goes for production design. If you have no props or set dressing - if you're shooting 12 Angry Men or Lifeboat - then you can probably cut that job.

But we have no idea what the script is telling us here.

The script is what should dictate the crew you need, not some sort of hypothetical conjecture about theoretical models.

In the absence of the script, we are not actually considering "what should Carey do" - we are considering what WE would do....

Nobody actually tries to do a breakdown without a script - the real underlying question isn't what is needed to make Carey's film - the real underlying question is what are WE willing to give up to get our film made?

I've made enough films to know what my own line in the sand is.

If I'm shooting a "four dudes in a shed" movie (as my friend Jim calls them), then all I need is me and my own gear and one other person to run the sound. Yes, that can be done and you can cut everybody and light it yourself. I could do it with four Collights and my new Scorpion LEDs. I could even dress the set myself with some sort of Beautiful Mind madness iconography or a time travel machine.

It really goes back to your budget and your script. Whatever model you use should be shaped by these. That hasn't changed one bit, no matter how stripped down we can be, with new technologies....

 

[Carey Lee Coffey]

You are all right. There is no right or wrong answer to this question. It is completely script dependent. Yes, I am making a " four guys in the shed" film. 12 angry men, breakfast club etc.

I only made this thread to evaluate other peoples opinions, even though I already knew what I was going to do. Nothing anyone has posted has swayed me in any direction. And it was never intended to. I just wanted to know peoples opinions. More for curiosity than anything else.

I know I could make this film with me and one other guy and my actors, as long as I spent enough time on it. With enough time, you can do anything. But I do want a few professional key positions because it is a headache to make any film, no matter how small, without some help.

My actors are SAG actors, but they are unknown as well. But, they are all my friends and so I'm not worried about how they feel about being attended to. I'll do "last looks" myself. Also, the script dictates that they look like shit. I can manage to make them look like shit on my own.

 

[Blair S. Paulsen]

I get where you're coming from Carey. My list was based on far too many 16+ hour days on indies where a stronger person in a particular crew position would have radically changed our operational efficiency. When I am approached about an indie project, among my first questions is who they have as 1st AD - if I don't like the response I'm probably out.

Cheers - #19

 

[Minu Park]

1. 1st AD.

Without AD, YOUR FILM WILL BE SCREWED.

2. Sound guys (Boom or mixer)

You make good look, but if you have shitty sound, your money is wasting

3. Production designer

You light well doesn't mean that film look good. Art direction is far more important than just D.P some times. / For example, using 5D with $100,000 budget set is way more interesting than, 2000$ set with alexa. - I think alot of people will argue with me, but I think art direction is way more important - location, props, set condition, color of the props, and mood.

4. Line Producer

Who is going to feed you? who is going to listen all the complain, and organizing the shit things happen in the set? What if there is an unexpected event happen?
He will figure out.

5. PA/ AC/ GAFFER

- Hey red users, you guys know how to light, how to hang the light, how to block, how to figure this technical issues, if there is only two people I could choose I won't hire A.C for focus pulling and changing lens. Of course it's not efficient, but in a micro budget, what do you expect? Regarding gaffer, you move your ass to check all the amperage and organize the light - perhaps ask other guys to move some stuff. Key grip? Just don't move your camera unless it's necessity, a lot of beautiful film was made on a tripod instead of using dolly or crane or what ever... OR YOU CAN TRAIN YOUR LINE PRODUCER TO HELP YOU TO BE A GRIP.

With 4-5 real professional passionate team, you can create feature film. Yes it is. ASK YOUR FRIEND TO HELP CATERING, ORGANIZING BEHIND THE SCENE, OR YOUR GIRL FRIEND AND HER FRIENDS.

But, I have never seen a good result without SOLID A.D IN MY LIFE.

 

[Minu Park]

By the way, I hate recent grads students, they think they are god. hahahaha

 

[Carey Lee Coffey]

1. 1st AD.

Without AD, YOUR FILM WILL BE SCREWED.

2. Sound guys (Boom or mixer)

You make good look, but if you have shitty sound, your money is wasting

3. Production designer

You light well doesn't mean that film look good. Art direction is far more important than just D.P some times. / For example, using 5D with $100,000 budget set is way more interesting than, 2000$ set with alexa. - I think alot of people will argue with me, but I think art direction is way more important - location, props, set condition, color of the props, and mood.

4. Line Producer

Who is going to feed you? who is going to listen all the complain, and organizing the shit things happen in the set? What if there is an unexpected event happen?
He will figure out.

5. PA/ AC/ GAFFER

- Hey red users, you guys know how to light, how to hang the light, how to block, how to figure this technical issues, if there is only two people I could choose I won't hire A.C for focus pulling and changing lens. Of course it's not efficient, but in a micro budget, what do you expect? Regarding gaffer, you move your ass to check all the amperage and organize the light - perhaps ask other guys to move some stuff. Key grip? Just don't move your camera unless it's necessity, a lot of beautiful film was made on a tripod instead of using dolly or crane or what ever... OR YOU CAN TRAIN YOUR LINE PRODUCER TO HELP YOU TO BE A GRIP.

With 4-5 real professional passionate team, you can create feature film. Yes it is. ASK YOUR FRIEND TO HELP CATERING, ORGANIZING BEHIND THE SCENE, OR YOUR GIRL FRIEND AND HER FRIENDS.

But, I have never seen a good result without SOLID A.D IN MY LIFE.

When you say boom OR mixer, what do you mean? That's two positions. You can't have a pro mixer with a monkey for a boom op, and visa versa,

 

[Minu Park]

When you say boom OR mixer, what do you mean? That's two positions. You can't have a pro mixer with a monkey for a boom op, and visa versa,

I meant both are same important. So, Boom is more important than production designer and line producer.

 

[Marc Wielage]

I get where you're coming from Carey. My list was based on far too many 16+ hour days on indies where a stronger person in a particular crew position would have radically changed our operational efficiency. When I am approached about an indie project, among my first questions is who they have as 1st AD - if I don't like the response I'm probably out.

Very good point. The 1st AD determines the "mood" of the production. You get a good one, the overall feeling perks up and everybody pitches in and works together; if the AD is bitchy and argumentative, it just drags everybody down. I've seen both yin and yang in this process and it's a very important consideration.

 

[Carey Lee Coffey]

Very good point. The 1st AD determines the "mood" of the production. You get a good one, the overall feeling perks up and everybody pitches in and works together; if the AD is bitchy and argumentative, it just drags everybody down. I've seen both yin and yang in this process and it's a very important consideration.

Yes, I've worked with AD's who were so overzealous and overbearing that I had to tell them to back off and let me do my job. A good AD keeps everybody on task with gentle persuasion.