At the very least you should have a crew of three - DP/cinematographer, PSM/Boom-Op and a generalist to handle everything else from moving lights for the DP to fetching coffee to slating and maintaining the logs.
You also need to pre pro everything to the last detail. A thorough, exhaustive pre pro, complete with basic storyboards, will save you hours on-set and gets everyone on the same page. This makes for a comfortable shoot and unexpected problems are inconveniences rather than disasters.
I worked with a producer on a number of projects who was a fanatic about preproduction. She was the master of the shoestring budget. By far the largest budget item was craft services - food & drink and other "comfort" items. The first pre pro meeting was herself, the screenwriter, the director and the primary actors for a table read. Inevitably there would be script revisions. The next meeting would be a technical meeting with herself, the screenwriter, the director, the primary actors and all of the department heads. As an example of one crew the DP did commercials and corporate work, the gaffer/lighting was a commercial photographer, H/MU & wardrobe was a woman who worked weddings, corporate and the like, the editor was another commercial/corporate type, and I did the production sound and audio post. At the meeting was beer, wine, soda and lots of tasty noshes. We would walk though the whole script and put together our technical, location, personnel and other requirements. The third pre pro meeting, where we all got complete binders from the previous meetings notes, would nail down all the technical details and have a complete read through following basic storyboards (sometimes drawn on location photos), again with food and drink. By the time we got to the shoot we were a functioning team with confidence that we knew what we were doing and had everything we needed. Her husband, who loved to cook, laid out a lavish craft table and made delicious meals. (No alcohol until we wrapped for the day.) The shoots went (mostly) smooth as glass, lots of laughs and, occasionally, even some extra time for improvisation and "arty" stuff. Aside from meals all we got was gas money, yet everyone wanted to know when the next project would be because working with Dianne was really, really FUN! The "corporate" folks got a chance to be creative for a change, and everyone was treated like a professional.
I really miss Dianne; we were all slated to start her first feature with a real , substantial budget when she was diagnosed with cancer, God rest her soul.
But the moral of the story is you can't do it all yourself. But, to attract good talent, you have to make the project attractive in every way you can on a shoestring budget by treating them as professionals and collaborators.
Sorry that I got so long-winded.
GOOD LUCK!!!