Needing Reliable Crew - Advice

Hey guys, I'm a producer on a feature film scheduled for next month--if everything stays on target. The hardest thing I realized is getting a decent crew together in Portland Oregon--Seattle.
We are filming on an Arri Alexa XL with Cooke Anamorphics. I need a great 1AC focus puller but it's been tricky getting one with the chops for the job. If you have the chops let me know.

We don't have a big budget but we are willing to pay a reasonable amount, or if anything we can fly you out, house you, and feed you :)

Okay it just so happens that the past stills I grabbed are female characters, but the movie is a wholesome family flick!

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I don't know how big of a set you people film on. But this shoot is simple. Steadicam, tripod, shoulder rig. Few dolly, drone, and underwater here and there. If you need a day to figure out how to film each scene and those are your only options then you shouldn't be a filmmaker...Atleast not one on a schedule and budget.

If you have a day to film in a restaurant, gallery, or an out house, you shouldn't need more than a few hours of conversation with those involved. But maybe i'm wrong. But then again, the producer and director are doing something that most indie filmmakers aren't doing...
 
There's so much to prep that a day just doesn't cut it.

Location recces in and of themselves could take many days. Especially if there are locations that are less than ideal. There's discussions and meetings with Director, Production Designer etc. Shot lists and discussions of scenes etc.
Organisation of crew, camera and other equipment rental.

And so much more. And that's what I'd call pre-pro, not even camera specific prep, which is more often completed by the ACs but will definitely have the DPs input. Depending on the camera package, this could take a day or two.

If you're doing underwater and steadicam, then just the camera prep will probably take at least two+ days. Let alone everything that sits within pre-production.

How do you know what days you'll need the Steadicam op or the underwater operator and assistants and camera housings if you don't set that all out..?
 
There's so much to prep that a day just doesn't cut it.

Location recces in and of themselves could take many days. Especially if there are locations that are less than ideal. There's discussions and meetings with Director, Production Designer etc. Shot lists and discussions of scenes etc.
Organisation of crew, camera and other equipment rental.

And so much more. And that's what I'd call pre-pro, not even camera specific prep, which is more often completed by the ACs but will definitely have the DPs input. Depending on the camera package, this could take a day or two.

If you're doing underwater and steadicam, then just the camera prep will probably take at least two+ days. Let alone everything that sits within pre-production.

How do you know what days you'll need the Steadicam op or the underwater operator and assistants and camera housings if you don't set that all out..?

I hear what you're saying, but I just don't get it. It makes it sound as if some crew members are really high maintenance. Location scouting/reccess...Sure the DP can be on board, maybe even the sound recordist, but I don't think it's mandatory. If the Director likes how it looks, and he's competent, he can tell if it's suitable for filming. Creating a shot list can be done well before actual filming. And a capable director can do that themselves... Day 1. This Location. These actors. These outfits. This part of the script. The camera gear. Bring the 5 ton truck regardless. Set up lights. Blocking. Blah blah by the end of day you have the scene completed. Day two repeat. A shotlist in my opinion is a filming schedule. Knowing when you'll need the underwater gear and steadicam op are again a part of the schedule. Yeah things might not go according to plan, but really how much can you plan without being on set? You have a script, you have a location, you have actors, you have gear, start filming.

Now, I get it. If I were working on a 100 million dollar film, or a samsung/sony commercial you better believe I'm dicking around doing nothing, and getting paid to do not very much work. But if you're not yet Christopher Nolan, you can't get paid to do nothing for days on end. This is making me realize that a lot of crew members are expecting that and I have to reconsider recommending them. Also, I'm realizing that not many are willing to work hard. Or people have different ideas of what working hard is.
 
Sure the DP can be on board, maybe even the sound recordist, but I don't think it's mandatory. If the Director likes how it looks, and he's competent, he can tell if it's suitable for filming.
How? The Director is looking for something to fit his vision. He's not looking for the practical aspects of shooting. A Director needs to be able to compromise sometimes on locations, and if he/she isn't - then the specialists you hire as your HODs need to come up with a solution to make it work. How are they going to do that if they haven't even seen the location..?
If you don't bring along the DP and soundie, then you're going to run into trouble later. The soundie has worked on enough films to know when he sees traffic cones near the location to ask production to check if there'll be roadworks nearby on the day that will most definitely affect the sound. The DP will need to know whether he needs to bring in a generator or if house power is enough. Where are the windows? How will he/she light it? What lights will they need? How many circuits in the house? Where are the fuses? What if one blows? Will HMU need to draw house power for hairdryers? Will crafty need to draw house power for the toaster or kettle? If so, where does that leave us power-wise? Will we need a generator? If so, how big? Where will it need to go so that it's not a problem for sound and we can still run appropriate cabling?

Is the room too boomy/verby? Will dialogue be a problem? Is there a tin roof that will cause sound issues when it rains?

The Director doesn't need to think about these things because he's got specalists to worry about them. But if they're not there, you're simply asking for trouble.


Creating a shot list can be done well before actual filming. And a capable director can do that themselves... Day 1. This Location. These actors. These outfits. This part of the script. The camera gear. Bring the 5 ton truck regardless. Set up lights. Blocking. Blah blah by the end of day you have the scene completed. Day two repeat. A shotlist in my opinion is a filming schedule. Knowing when you'll need the underwater gear and steadicam op are again a part of the schedule. Yeah things might not go according to plan, but really how much can you plan without being on set? You have a script, you have a location, you have actors, you have gear, start filming.

The schedule is made from the shot list. Yes, some Directors prefer to do their own; ideally the DP is involved and it's a collaboration - but regardless, the DP needs to let production know what each shot needs. How the hell is the Director supposed to know what equipment is needed to get which shot? How does the Director know if the location's big enough to put the crane in that he wants unless the DP is at the location and able to consult about whether a crane is appropriate? How does production know how much this stuff is going to cost without the DP consulting?

Your Director also isn't collaborating with their Production Designer, I see...?

The 'camera gear' changes day-to-day depending on what's scheduled. You going to pay $1k/day to have a steadicam operator turn up with his gear and just wait around to see if he's needed...?

The script doesn't (usually) have any/much to do with how the thing is shot/told. Aren't you looking after budgets here? You're happy to pay for the 5-ton every single day, including outside days where the DP only needs some reflectors and neg fill? What if it's an outdoor day and the DP wants a generator and some HMIs?

How will you even know how long to set aside for underwater shots unless you consult with the DP? It's not as simple as just throwing the camera in a bag and 'let's go,' especially if you're shooting on an Alexa or similar as you suggested.
You may need an underwater camera op with their own housings and equipment. How will you know that if you don't consult with the DP?


Now, I get it. If I were working on a 100 million dollar film, or a samsung/sony commercial you better believe I'm dicking around doing nothing, and getting paid to do not very much work. But if you're not yet Christopher Nolan, you can't get paid to do nothing for days on end. This is making me realize that a lot of crew members are expecting that and I have to reconsider recommending them. Also, I'm realizing that not many are willing to work hard. Or people have different ideas of what working hard is.
Who's getting paid to do nothing?! Making a film is hella hard work, and by not preparing appropriately, you're actually make it even more work. More work for everyone on the day of shooting to try and make what you've decided on come together as they were unable to contribute anything to pre. And significantly more work for everyone in post, who now have to try and remove the room verb of every scene so it sounds alright. Or get everyone in to do copious amounts of ADR. Or remove lighting fixtures and stand legs in VFX because it was either that or nothing. Or attempt significant noise reduction on the image because there simply wasn't enough light available in the location and it couldn't be made to work even with the 5-ton, because you really needed a high powered generator. Or you were relying on house power, but HMU plugged in the hair dryer and it blew and you didn't have a generator, and you weren't able to get power back to the house in time to finish the day.

Or a whole shot's out of focus because you didn't let the camera team prep appropriately and it turns out the batteries from the rental house don't have D-tap power out, which was necessary to power the wireless follow focus motor for the steadicam days.

All of these things are very likely to happen, and almost all of them can be very easily avoided by just putting some time into pre-pro.

Everything you don't take into account, every time you don't plan something appropriately, the more likely it is to fail and the more likely it is your film won't turn out how you want.

It's even more important to plan appropriately in low-budget filmmaking because you don't have the money to reshoot if you get it wrong.


Why are you even hiring a DP if not for their knowledge and experience...?
 
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How? The Director is looking for something to fit his vision. He's not looking for the practical aspects of shooting. A Director needs to be able to compromise sometimes on locations, and if he/she isn't - then the specialists you hire as your HODs need to come up with a solution to make it work. How are they going to do that if they haven't even seen the location..?
If you don't bring along the DP and soundie, then you're going to run into trouble later. The soundie has worked on enough films to know when he sees traffic cones near the location to ask production to check if there'll be roadworks nearby on the day that will most definitely affect the sound. The DP will need to know whether he needs to bring in a generator or if house power is enough. Where are the windows? How will he/she light it? What lights will they need? How many circuits in the house? Where are the fuses? What if one blows? Will HMU need to draw house power for hairdryers? Will crafty need to draw house power for the toaster or kettle? If so, where does that leave us power-wise? Will we need a generator? If so, how big? Where will it need to go so that it's not a problem for sound and we can still run appropriate cabling?

Is the room too boomy/verby? Will dialogue be a problem? Is there a tin roof that will cause sound issues when it rains?

The Director doesn't need to think about these things because he's got specalists to worry about them. But if they're not there, you're simply asking for trouble.




The schedule is made from the shot list. Yes, some Directors prefer to do their own; ideally the DP is involved and it's a collaboration - but regardless, the DP needs to let production know what each shot needs. How the hell is the Director supposed to know what equipment is needed to get which shot? How does the Director know if the location's big enough to put the crane in that he wants unless the DP is at the location and able to consult about whether a crane is appropriate? How does production know how much this stuff is going to cost without the DP consulting?

Your Director also isn't collaborating with their Production Designer, I see...?

The 'camera gear' changes day-to-day depending on what's scheduled. You going to pay $1k/day to have a steadicam operator turn up with his gear and just wait around to see if he's needed...?

The script doesn't (usually) have any/much to do with how the thing is shot/told. Aren't you looking after budgets here? You're happy to pay for the 5-ton every single day, including outside days where the DP only needs some reflectors and neg fill? What if it's an outdoor day and the DP wants a generator and some HMIs?

How will you even know how long to set aside for underwater shots unless you consult with the DP? It's not as simple as just throwing the camera in a bag and 'let's go,' especially if you're shooting on an Alexa or similar as you suggested.
You may need an underwater camera op with their own housings and equipment. How will you know that if you don't consult with the DP?



Who's getting paid to do nothing?! Making a film is hella hard work, and by not preparing appropriately, you're actually make it even more work. More work for everyone on the day of shooting to try and make what you've decided on come together as they were unable to contribute anything to pre. And significantly more work for everyone in post, who now have to try and remove the room verb of every scene so it sounds alright. Or get everyone in to do copious amounts of ADR. Or remove lighting fixtures and stand legs in VFX because it was either that or nothing. Or attempt significant noise reduction on the image because there simply wasn't enough light available in the location and it couldn't be made to work even with the 5-ton, because you really needed a high powered generator. Or you were relying on house power, but HMU plugged in the hair dryer and it blew and you didn't have a generator, and you weren't able to get power back to the house in time to finish the day.

Or a whole shot's out of focus because you didn't let the camera team prep appropriately and it turns out the batteries from the rental house don't have D-tap power out, which was necessary to power the wireless follow focus motor for the steadicam days.

All of these things are very likely to happen, and almost all of them can be very easily avoided by just putting some time into pre-pro.

Everything you don't take into account, every time you don't plan something appropriately, the more likely it is to fail and the more likely it is your film won't turn out how you want.

It's even more important to plan appropriately in low-budget filmmaking because you don't have the money to reshoot if you get it wrong.


Why are you even hiring a DP if not for their knowledge and experience...?

Thanks for this. I suppose not knowing the script is making this difficult. Also, I suppose we are more planned out than I'm portraying. So when people ask how much prep time, the answer in my opinion is not much. Why? Because everything is planned out already. A lot of what you're saying isn't something low budget films worry about. For instance, instead of a crane we went with a drone and jib. Cheaper, yet keeps production value high. I don't know how many indie filmmakers are using cranes. Sure commercial work can use cranes, but commercials only take a few days to film as opposed to weeks/months for features. A lot of what you're saying cannot, and I mean, never, can be planned prior to actually being on location for indie filmmakers. Do indie filmmakers really have access to locations for weeks prior to filming? I would say they do not. Sure they can visit the spot once, maybe twice, hell maybe a third. But how much gear can you setup on those days? Isn't it really just them and a light meter, sound check, and other unobtrusive equipment? So that leads me to ask again. How much prep time does someone really need for a location in a house, or restaurant or whatnot for INDIE FILMMAKERS. Yes, there's a difference if you have a multimillion dollar budget, and literally have the world of equipment to rent, but I can't buy camera prep is 2+ days alone for indie filmmakers--I don't know what that would entail. And if that's the mentality then I don't want those indie filmmakers around me. But then again, i suppose it depends on the script. Locke was in a car for the whole damn movie. I'm sure some DPs can say give me a few hours and i'll have you ready, while others would say I need a few weeks to prep. Buried had Ryan Reynolds in a coffin the whole movie. I wonder how much prep some people would argue they need for that. But there's also others that would say "i got this."

Yes knowing the shot is important. But from a financial aspect, it's definitely cheaper to have each day planned out properly with one vision vs having everyone and their granny giving input. Some are more capable than others. Some work harder than others. Some are given a task and will get it done without complaining. Others will be stubborn and say it cant be done when it can if they "free their mind." Unfortunately, I would say that most indie crews are getting paid for their time not talent. We are definitely looking to hire people for their talent not time.

You bring up great points about POWER. That's the only thing I didn't actually consider and I will now.

I'll add this. I was a CD for the biggest ad agency in America. While in NYC my whole team worked hard, fast, and it was a joy. Granted they were pretty much all ivy leaguers so that is what they were used to. Then I decided to try an Ad Agency in the West coast. 2 weeks I lasted. Every day people came to work, looked busy, but didn't actually do anything. It killed me. I couldn't continue to work and not do anything and collect a pay check. Then when I spoke to the designers they would go on and on about how much work they're doing and how busy they were. My options were to either fire everyone and recruit hard working ivy leaguers, or just quit and leave the culture. I decided to leave. This film is going the same way. Come to work, do the job your tasked and STFU. And to the people that have so far been hired they love that about this team. But I can see now that there's many...hell...i'd argue most people would not.
 
A lot of what you're saying isn't something low budget films worry about.
Yes - and it's to their detriment

If more low budget films worried about these things, then they wouldn't have as many problems.

I guess I don't quite understand - I've worked on short films that I'd call pretty low budget but we've still had plenty of equipment, plenty of prep time etc.
To me, a production that can fly a DP from overseas and put them up for the duration of filming, and afford to shoot Alexa anamorphic.....
Yes, sure - low budget compared to say a mega millions Hollywood feature, but it's a very different realm to the ultra-low budgets that many work with on here. In the ultra-low budget world, sure sometimes you have to just work with what you get.

But I guess I see a disconnect between on the one hand flying a DP in from overseas and then saying you can't afford to even pay a half day for them to see some locations, meet the Director to even find out what their vision is, or pay an AC for a half day of camera prep.


For instance, instead of a crane we went with a drone and jib.
And how will you know when you're going to use them unless you get the input of your DP during pre-pro? Or will you just hire them for the duration of the whole film and have them sit around on days they're not being used? For someone who's very concerned about money, you don't seem phased by spending money on hiring things for extra unnecessary days...

A lot of what you're saying cannot, and I mean, never, can be planned prior to actually being on location for indie filmmakers. Do indie filmmakers really have access to locations for weeks prior to filming? I would say they do not. Sure they can visit the spot once, maybe twice, hell maybe a third. But how much gear can you setup on those days? Isn't it really just them and a light meter, sound check, and other unobtrusive equipment

I never said anything about setting up gear. Again, on the one hand you're saying your crew can't even have a day to check a location. Then here you're saying you can maybe give them three days...?

Location recce's aren't about booking a location for a week and setting up all your gear. But everything i mentioned can be checked and sorted during a recce. It can be as quick as an hour or two per location. But it needs to be done, lest you end up with issues.

It's no good bringing a 5-ton grip truck along if you get to the location and you can only plug one light in along with crafty's toaster because the house doesn't have enough power.
You don't need to plug everything in to test that, but you do need to check the power box, the fuse box etc. so you know what you need. You say you'll take that into consideration yourself- but as you're not a Gaffer or DP how will you know what power you'll even need... how will you be able to consider power without understanding the power needs and effects of power..?

I don't know what that would entail.
You don't need to know. You're not the camera department. But you need to know that prep has to be done, and questioning the provisioning of time simply because you don't understand it does not make you a smart operator, nor does it make you any more 'indie' than someone else.

And if that's the mentality then I don't want those indie filmmakers around me.
I don't particularly like working on crews with people who are heinously under-prepared. If I politely request some meetings and location recces and the Producer fires back at me 'what do you think this is, some sort of huge Hollywood feature?! We don't have the money to prepare and plan!' then I'm going to lose interest in the project pretty quick.

Buried had Ryan Reynolds in a coffin the whole movie. I wonder how much prep some people would argue they need for that.
I guess it depends if you want to have interesting shots and coverage, ensure that the coverage and lighting and types of shots and framing you're going to get will be right for the movie, and will evoke the kind of emotion you want, and whether or not you want to ensure that all your crew and cast are going to be safe.



it's definitely cheaper to have each day planned out properly with one vision vs having everyone and their granny giving input.
Then why hire any HODs? Just have your Director direct the grips, and the gaffer and the boom op and the cam op and do the art etc.

You don't hire HODs for them to undermine the Director. I've said it numerous times, but everyone's pulling towards making the Director's vision happen. But to make that happen requires planning. Not planning is what puts that vision at jeopardy.

I don't see how you could think that having no plan and no prep time could possibly lead to good results. How is that helping the Director's vision, yet putting into place plans and prep that ensures the Director's vision is able to be achieved is... not...?

Come to work, do the job your tasked and STFU. And to the people that have so far been hired they love that about this team.
I ask again: Why are you hiring a DP, or hell - any HOD - if not for their knowledge and experience...? Not to divert from the film's vision, but to assist and aid. You hire experts to aid that vision. But you're hiring experts and when they say 'we'd like to make sure we can definitely make this vision come off' you're saying 'nah, sorry - we'd rather compromise on the vision instead because we don't want to give you any pre-pro time'

If you fail to plan, plan to fail.

I'm not saying pay everyone triple their rate every day for three months to plan it all. I'm just saying adequate pre-pro and prep needs to be done if you want any chance of even having some sort of semblance of something that even remotely resembles what the Director's vision is.


Think of it like a client hiring you to put together a TVC for them. They come to you, an advertising agency - the experts at advertising, and say 'we want to increase sales'.
You drill down with them and come up with a few solutions and campaigns that you pitch to them. In collaboration with them, you come up with a campaign that will work for them. And it does.

Say a client comes to you and says 'make me a commercial' would you say 'look I'd like to meet with you and discuss what you want to achieve, what you like, and how we should move forward in making this commercial' or would you just go and make a commercial?

If you jsut go and make something, how do you know that the client will even like it, let alone whether it will achieve what they want..?

Same principle applies here.

I'll add that getting the shot at all costs, not caring about planning and ensuring everything was done right is what led to the death of Sarah Jones
 
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Are you still seeking crew? Because this crew call ad has become a discussion and may need to be split.
 
Yes - and it's to their detriment

If more low budget films worried about these things, then they wouldn't have as many problems.

I guess I don't quite understand - I've worked on short films that I'd call pretty low budget but we've still had plenty of equipment, plenty of prep time etc.
To me, a production that can fly a DP from overseas and put them up for the duration of filming, and afford to shoot Alexa anamorphic.....
Yes, sure - low budget compared to say a mega millions Hollywood feature, but it's a very different realm to the ultra-low budgets that many work with on here. In the ultra-low budget world, sure sometimes you have to just work with what you get.

But I guess I see a disconnect between on the one hand flying a DP in from overseas and then saying you can't afford to even pay a half day for them to see some locations, meet the Director to even find out what their vision is, or pay an AC for a half day of camera prep.



And how will you know when you're going to use them unless you get the input of your DP during pre-pro? Or will you just hire them for the duration of the whole film and have them sit around on days they're not being used? Are you hiring grips for the jib? Who will operate it if not, and when will they be needed..?



I never said anything about setting up gear. Again, on the one hand you're saying your crew can't even have a day to check a location. Then here you're saying you can maybe give them three days...?

Location recce's aren't about booking a location for a week and setting up all your gear. But everything i mentioned can be checked and sorted during a recce. It can be as quick as an hour or two per location. But it needs to be done, lest you end up with issues.

It's no good bringing a 5-ton grip truck along if you get to the location and you can only plug one light in along with crafty's toaster because the house doesn't have enough power.
You don't need to plug everything in to test that, but you do need to check the power box, the fuse box etc. so you know what you need.


You don't need to know. You're not the camera department. But you need to know that prep has to be done, and questioning the provisioning of time simply because you don't understand it does not make you a smart operator, nor does it make you any more 'indie' than someone else.


I don't particularly like working on crews with people who are heinously under-prepared. If I politely request some meetings and location recces and the Producer fires back at me 'what do you think this is, some sort of huge Hollywood feature?! We don't have the money to prepare and plan!' then I'm going to lose interest in the project pretty quick.


I guess it depends if you want to have interesting shots and coverage, ensure that the coverage and lighting and types of shots and framing you're going to get will be right for the movie, and will evoke the kind of emotion you want, and whether or not you want to ensure that all your crew and cast are going to be safe.




Then why hire any HODs? Just have your Director direct the grips, and the gaffer and the boom op and the cam op and do the art etc.

You don't hire HODs for their vision. I've said it numerous times, but everyone's pulling towards making the Director's vision happen. But to make that happen requires planning. Not planning is what puts that vision at jeopardy.

I don't see how you could think that having no plan and no prep time could possibly lead to good results. How is that helping the Director's vision, yet putting into place plans and prep that ensures the Director's vision is able to be achieved is... not...?


I ask again: Why are you hiring a DP, or hell - any HOD - if not for their knowledge and experience...? Not to divert from the film's vision, but to assist and aid. You hire experts to aid that vision. But you're hiring experts and when they say 'we'd like to make sure we can definitely make this vision come off' you're saying 'nah, sorry - we'd rather compromise on the vision instead because we don't want to give you any pre-pro time'

If you fail to plan, plan to fail.

I'm not saying pay everyone triple their rate every day for three months to plan it all. I'm just saying adequate pre-pro and prep needs to be done if you want any chance of even having some sort of semblance of something that even remotely resembles what the Director's vision is.


Think of it like a client hiring you to put together a TVC for them. They come to you, an advertising agency - the experts at advertising, and say 'we want to increase sales'.
You drill down with them and come up with a few solutions and campaigns that you pitch to them. In collaboration with them, you come up with a campaign that will work for them. And it does.

Say a client comes to you and says 'make me a commercial' would you say 'look I'd like to meet with you and discuss what you want to achieve, what you like, and how we should move forward in making this commercial' or would you just go and make a commercial?

If you jsut go and make something, how do you know that the client will even like it, let alone whether it will achieve what they want..?

Same principle applies here.
I wish I could break down your posts and answer each like you're doing for me :(. And I really do appreciate you telling me your thoughts.

One thing that stood out is apparently me saying no prep time. I've never said that. What I wanted to know was what it entails. And yes, from every shoot it's different, but there's also going to be a lot of jokers that take 2 days to prep a steadicam. But what I learned here is what's inside the head of a DP. And that's valuable. I think ultimately what the director and producers decided to do was hire those that they like and have similar vision/taste. Roger Deakins said the director would tell him to make the actors face brighter--that's about it. I think i'd agree, if everyone is like-minded things would go smoothly. I'm not going to tell RD how to light a scene, and I'm not going to tell Denzel Washington how to act. I'm paying 20 million for you because you do it perfectly. Finding like-minded individuals is the hardest thing. I remember when one actor asked "what's the latest he can get the audition in by" and the director told casting to just leave him be. Because there's also actors that will turn around and do it ASAP. That same actor will complain about long hours or late nights. Ultimately you just have to get like minded people.

We were in talks with a DP who does Black Sails but schedules couldnt align. Their visions were so in sync that it would have been a blast to watch. Ultimately everybody has to be on the same page. But I don't think the director and producers want to do a lot of talking to get people on the same page. It should be natural-organic. In my opinion everything is pretty well planned out. After reading the script, seeing the locations, and knowing what equipment is available you can get to work. Planning for the worst is good as well. But if you want to get it done at a high level, just get people that are like minded and it'll get done.
 
Ultimately everybody has to be on the same page. But I don't think the director and producers want to do a lot of talking to get people on the same page

100% and I totally agree. But you still need prep. I don't really know what your shoot entails or the script or complexity so I can't give you a ballpark.

Definitely get your soundie and DP to the locations at the very least. And budget some time for a proper camera prep at least (again without knowing the specifics I can't give you a ballpark).

The last thing you want is for production to stop down because the rental house didn't provide a piece of equipment and it wasn't picked up due to no prep...
 
Australia must be really sarcastic.
Naah mate. We have a national obligation to take the piss out of those without an ounce of common sense.

On a more serious note:

I don't think it's mandatory.
It's not. You can do whatever you want. Cut as many corners as you want. The more corners you cut, the higher the chance that your film becomes a post production turd polishing adventure.

A couple more things I'd like to add to:

A lot of what you're saying cannot, and I mean, never, can be planned prior to actually being on location for indie filmmakers. Do indie filmmakers really have access to locations for weeks prior to filming? I would say they do not. Sure they can visit the spot once, maybe twice, hell maybe a third. But how much gear can you setup on those days? Isn't it really just them and a light meter, sound check, and other unobtrusive equipment

If you've picked your crew for their time instead of their talent I can see where you're going with this. Most filmmakers pick their crew for the ability to do their job and run their team (if they have a team) and most importantly, their experience. Experienced crew will be able to look (and listen for sound) to get a relatively firm feel for what's are the limitations and requirements for locations, and for the script. Those experienced crew talk with the director at the location to how it'll work, potential pitfalls to the proposed plan and alternative options and so on.

I don't particularly like working on crews with people who are heinously under-prepared.
Or those who make unrealistic plans? Hey, lets shoot 13 pages of VFX shots in 6 hours.
Of those who have unrealistic expectations? "5 locations, 8 hours" umm... 7 hours of driving is required... without traffic...
or "TV pilot. Budget for 3 days to edit. No AE." and then the inevitable, "You don't have time to look at the footage, faster".

'what do you think this is, some sort of huge Hollywood feature?
The lower the budget, the less resources are available. However it's done, it's important not to waste those limited resources. It's not like you're a Hollywood production with millions of dollars to waste.

In my opinion everything is pretty well planned out.
A realistic, workable plan is required. It doesn't matter how the plan is done. If you do it without the input from HODs, great. You may have nailed the plan. If so, awesome sauce. If your plan is wrong, unusable or unrealistic, you may have saved yourself a few days wages at the expense of the entire production. I've seen it happen when budgets are tight and there's no additional funds for extra days of shooting. You have expertise available if you pay for it. If you lack experience in any important department, it may be worth using it to prevent false economy. It doesn't mean you need to bring everyone on and have people sitting around.

Say a client comes to you and says 'make me a commercial' would you say 'look I'd like to meet with you and discuss what you want to achieve, what you like, and how we should move forward in making this commercial' or would you just go and make a commercial?

A decent analogy.

led to the death of Sarah Jones
Also note one of the producers is in jail and others are currently on probation because of this incident.

It sounds like there's a chance you might have it sorted, but there's always a risk. By the kind of questions I've seen you asking, to me it feels like there's some gaps in your knowledge and there's no way we can judge whether you're missing pieces of the puzzle. Only you can judge that. If you're wrong... well, there's also a chance that it'll all fall into place anyway. It can happen. It's your movie and in the end, you get to run it any way you want. It's your decision. Good luck.
 
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