Low, low, low digital feature budget. Questions.

Hello.

I'm estimating about 10-20k for my next feature-length film (a boxing/gangster drama), some of it of spent on new video/sound equipment. I'm doing the budget right now on Excel and I'm pretty much gonna shoot and direct myself with one Camera Assistant, a PA, and a Boom Op/Sound Recordist and limited actors in several locations. I pretty much got that part down and since it's non-union and it's a really low budget digital feature, I'm pretty much the producer too... so does that mean I set the prices of everything?

I will edit the picture myself on Final Cut Pro, but I have some real lack of knowledge on how sound post production and VFX post production works. Also, there are some other things I am clueless about. Here's what I assume I need and I do not know the cheapest going rate for these job titles or if I even need them considering the small budget...?

Post-Production:

1) Sound/Dialog editor -- $ ??

2) Sound Mixer -- $??

3) ADR -- $??

4) Foley Artist -- $??

5) After Effects VFX Artist (gunshots, explosions, gunshot hits, fire, smoke/fog, etc)

5) Composer (if I'm not using an actual band) -- $??

Production:

1) Make-Up Artist (There will be blood [:cool:] and boxing bruises) -- $ ??

2) Permits? If I need one, how much would they cost in a major city like SF?

3) Actors -- some of the cast will be either friends or student actors I worked with before in no-budget work. But I genuinely wanna hire legit actors for this one too from various sources -- excluding union sources. I've heard $100 day is what's generally done, but that seems kinda steep for someone like me... what do you recommend?

Insurance:


1) Errors and Omission? $ - ??

2) General Liability? $ -- ??


That's all the ones I'm stuck on. Sorry if it's a lot, but I've never done a budget for my films. I've only done no-budget stuff and worked on someone else's low budget film.

My intention -- business-wise -- is to sell the movie to a distributor once it's polished. Many films that cost as much or even lower has done well and that only injects confidence in my project. So I would love to plan this out correctly. Thank you. :D
 
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I can see where you're coming from and it's logical, but I believe it's entirely possible. It may not be conventional as only a few successful filmmakers done their first serious films that in that way (correct me if I'm wrong) -- Chris Nolan, Robert Rodriguez, and that guy who did Monsters. Edward Gareth, if I'm correct. Plus, I like small crews. More gets done quicker and, in my opinion, better. And it's a lot more personal and fun for me.
If you can shoot faster with five people than I can with ten
and it's more fun and personal then I have nothing to add.
I find it's a LOT faster when I have other people doing specific
jobs - jobs I don't have to do - and it more fun for me.

I like small crews too, just not four. Way too slow for me
and not better. Cheaper, of course, but I have never found that
having a crew of 4/5 for a feature is better that a crew of 10/12.
It's so much more work people get burned out faster. And burned
out people are, in my experience, less fun to work with.
 
Thanks :) I'm glad you're willing to consider me. When it comes time, I'm willing to discuss a flat rate rather than an hourly rate to do both the VFX and the Sound work. That way, you get off more affordably and I'll be able to get what I need in terms of compensation. Win/Win (WINNING!)

knightly,

if you do get the job I'd be willing to listen back to your mixes if you'd like. I could also give ideas on sound design.

Ideally, though, sound design is thought with while the movie is in pre-production and the sound designer is hired for consultation on the script-writing process. He doesn't have to work full-time, but to read the script and pitch in his ideas on how he can forward the story through his soundtrack is extremely helpful and sometimes very very very rewarding to the final product.

For example, the sound designer of the movie "No Country for Old Men" had the idea of the beeping tracking device. The scene which is one of the most suspenseful scenes in cinema history in my opinion where the bad guy walks up to the hotel room and you don't see him at all and only hear the beeping device - that's movie magic with sound at it's best in my opinion...
 
Kholi said:
The Fs100 is a sweet camera. You need a few accessories to go with it but when you've got them it rocks. I had the chance to keep one with me for two days and ran around shooting lots of stuff with some Cooke Panchros and a Duckos 11-16... Very tempted to shoot my next feature with one.

When the camera comes back I'm going to shoot something more serious with it to measure. Also going to try out some Slog F3 in a week or so.

Good times for tech!

Awesome. I've been reading a ton of stuff on it and watching online videos. I am also tempted. Haha. I always liked Sony video cameras (the EX1 is/was great). In a nutshell, I am impressed with the FS100. Which accessories would I need if I got this camera? It doesn't have DOF issues like 5D, I hope. Do I need follow focus accessories, yes?

The lenses you used on the FS100 are pretty expensive. Wow. Quality glass is important, but I think I couldn't afford to use such amazing lenses. You're also getting the F3? Haha. Let me know how that goes.

@knightly. Win/win indeed. Haha. Props.

directorik said:
And burned out people are, in my experience, less fun to work with.

I just hand them some Red Bull. ;)

ROC said:
For example, the sound designer of the movie "No Country for Old Men" had the idea of the beeping tracking device. The scene which is one of the most suspenseful scenes in cinema history in my opinion where the bad guy walks up to the hotel room and you don't see him at all and only hear the beeping device - that's movie magic with sound at it's best in my opinion...

Very good scene indeed. :cool:
 
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