Shooting an entire feature in a weekend

[cameronchapman]

Haven't been on here too much lately. But I read an article a couple months ago over on Web Film School about shooting an entire feature film in a weekend. ONE weekend, not just filming on the weekends over the course of a few months or a year. And it was like a lightbulb turned on over my head. It was an instant "I can totally do this" moment.

I'm going for it. Script is done. Schedule is getting there. Budget is mostly done (other than a few TBD items). All the breakdowns and other pre-production stuff is happening (Arri's Yamdu web app, btw, is amazing. It even works with Celtx format scripts to get everything set up. And has a free 60-day trial, and then a super barebones subscription for $5/month after that). Casting is underway. Location scouting is in progress. Working on crew.

It's one location, five on-screen characters (two more who are on the other end of a phone calls, but will never appear on screen, and their parts will be recorded separately). No costume changes. Set in the 90 minutes leading up to a wedding after the bride locks herself in the bathroom.

Absolutely barebones crew (1st AD, a couple of PAs, someone experienced on audio, crafty, and a script supervisor. I also may have someone acting as a co-producer who will be getting behind-the-scenes stuff, depending on if I can get one of the actors I want). Everyone's getting paid at least a couple hundred per day (much easier when you're only shooting for 2 days) plus backend points, and travel and lodging if they're coming from outside the immediate area. Crowdfunding part of the very small budget (under $10k, final amount at this point will depend on how many cast/crew are traveling) and paying for the rest out of pocket.

I'm 99% sure I'm going to DP and direct. Unless I happen to find a DP I'm completely in sync with. Mostly because it minimizes time taken for communication and making sure my ideas are being captured in a way that conveys what I want to convey (I've DP'd on everything I've done before, and am very comfortable in this role). Going to use natural/practical light as much as possible (this is being taken into account when location scouting).

I realize this is crazy. I'm also more energized for this project than I've been for anything (film or otherwise) in a long time. It's a one-off kind of thing. Not a model I'd plan to replicate in the future. But if (when) I pull it off, it'll be an impressive calling card for getting my next feature made. And I feel like if I'm going to invest $10k and a few months, I'd rather walk away with a feature than a short.

Advice and encouragement welcome, as are questions about specifics (including things I may not have thought of).

ETA: The bar for quality on this thing is GEFN (Good Enough For Netflix). In other words, better than a 1-2 star Netflix film.

 

[Chris Tempel]

Nice! Good luck, I'm huge fan of small crews and multiple hats too.

 

[Morris]

Just be sure you have backups for things like batteries or can get another camera or audio gear quickly if there is any problem. Will need luck and actors have to know their lines and everyone has to show up on time.

 

[Sweetie]

In their pre-production, I was asked to edit one of those films they were shooting on a single weekend. I'm dying of old age for it to turn up.

Yes it's possible. It's not really advisable.

Are you locking yourself out of reshoots?

Absolutely barebones crew (1st AD, a couple of PAs, someone experienced on audio, crafty, and a script supervisor.

If I were you, I would seriously reconsider hiring a DOP and at least an AC. If your actors need a "last minute question", can you afford the time to stop setting up the camera?

one location
No costume changes.
five on-screen characters
natural/practical light

Mostly ticks there.

it'll be an impressive calling card for getting my next feature made.

Just ensure it doesn't come across as "rushed" or "botched". If you do, your reason of "we shot it over 2 days" will turn your calling card into an example of bad decision making. Most consider 7 to 10 days rather rushed for an experienced crew.

I'm relatively inexperienced when it comes to directing. I try to aim for 2 to 3 pages a day when directing. In 7 day shoots, approx 12 pages a day is required. Only once have I hit that pace of shooting in one day. You're talking 45 friggin pages a day. About 4 pages per hour!

What kind of coverage are you going to get? Are you going to get coverage?

Will this be your first time in the directors chair?

What happens if the weather doesn't cooperate on one day? 90 pages on the other day?

Good luck!

 

[Filman]

Loving this. Damn. With a good plan you truly can get a nice feature shot this way. I feel like doing it myself now.

 

[WalterB]

From an experimental point of view I'm very curious how this will turn out.
Shooting Dogma-95 inspired style will surely safe time with lighting. At the same time, we all know daylight changes quickly.

I suppose you will rehearse a lot before shooting?

Everything needs to be designed to this purpose of shooting in 2 days: nice challenge

Will it be a drama full of long shots and awkward silences and explosive beats?

Good luck

(I wouldn't dare to try this: I would be happy with 10 minutes a day )

 

[Chris Tempel]

Grease Live was a great example that with lots of planning, it's doable. Though they had lots of $ and people lol

 

[Filman]

The idea behind (in the article) is that it's a real-time shoot. And shot only on one day - not the whole weekend. Friday is only for rehearsing and Saturday is for dress-rehearsing. The story is always the 90 critical minutes on one location before some main event. That makes it a not typical story-line, but a simple one. One easy to shoot. Something that you can shoot in one take. At least almost.

 

[sfoster]

It's certainly possible to do a film in one take, to film a feature in 90 minutes.
I think you did that.. do it all in one take.. and then you could spend the rest of the time doing pick ups and special shots for the more dramatic moments.

you're going to need VERY serious actors.
Usually when i film, even with great actors, they don't have their lines totally memorized.

 

[directorik]

Advice and encouragement welcome, as are questions about specifics

Love it! I've done it – three times. Back then it was called
DTV – direct-to-video. Here in L.A. rental houses are closed
on Sunday so we could rent the equipment starting at 3PM
Friday and return it 10AM Monday for one days rent.

My advice is to up your crew. If you're going to shoot AND
direct get yourself a good AC. I am a competent DP but have
always found that if I both shoot and direct I am not spending
enough time with the actors. And the performances suffer.
Make sure you have a really good, experienced audio recordist.

The problem with using natural light in a shoot like this is time.
You don't have much daylight and the sun moves through the
shooting day. I learned to keep most of the story at night – it's
MUCH easier to darken a room.

 

[cameronchapman]

Just be sure you have backups for things like batteries or can get another camera or audio gear quickly if there is any problem. Will need luck and actors have to know their lines and everyone has to show up on time.

Very good points. I'm shooting with a GH4 (probably not in 4K, though), but will also have my GH1 for backup. I'm going to try to have plans A, B, and C for everything that can be swapped at a moment's notice.

In their pre-production, I was asked to edit one of those films they were shooting on a single weekend. I'm dying of old age for it to turn up.

Yes it's possible. It's not really advisable.

Are you locking yourself out of reshoots?

I am going to try to keep actors around for one extra day, just in case anything goes wrong. But mostly going to act like that day doesn't exist unless it's absolutely 100% necessary.

What kind of coverage are you going to get? Are you going to get coverage?

Will this be your first time in the directors chair?

What happens if the weather doesn't cooperate on one day? 90 pages on the other day?

Good luck!

Coverage will be very limited for some of the shorter, simpler scenes (2 good takes). For the longer scenes or scenes with more complex interactions will get more (master, each character, plus close-ups as needed). I'll have a detailed shot list once I get the location locked down.

Not my first time in the directors chair, but I don't have a ton of experience in that department, either. I'm realistic that it might hinder me, but also confident in my ability to do it. Almost everything will be shot inside (and I'm looking for a location with north-facing rooms, so the daylight changes are significantly less noticeable), and the few outside scenes (under cover, not completely open air) will all be shot on one of the two days, to accommodate weather.

From an experimental point of view I'm very curious how this will turn out.
Shooting Dogma-95 inspired style will surely safe time with lighting. At the same time, we all know daylight changes quickly.

I suppose you will rehearse a lot before shooting?

Everything needs to be designed to this purpose of shooting in 2 days: nice challenge

Will it be a drama full of long shots and awkward silences and explosive beats?

Good luck

(I wouldn't dare to try this: I would be happy with 10 minutes a day )

Answered the lighting thing above. I'm planning on doing a few table reads (via Skype/Google Hangouts/etc.) in the lead-up to the shoot. Actors will (hopefully) not all be local, so actual in-person rehearsals will be tough. We'll have the Friday before to rehearse anything that needs it in person.

It's raunchy comedy, so there's also room for improv, which I'm hoping I can just embrace. That's where good actors will be invaluable.

The idea behind (in the article) is that it's a real-time shoot. And shot only on one day - not the whole weekend. Friday is only for rehearsing and Saturday is for dress-rehearsing. The story is always the 90 critical minutes on one location before some main event. That makes it a not typical story-line, but a simple one. One easy to shoot. Something that you can shoot in one take. At least almost.

It's definitely not going to be one take, and while it's "one location" it's multiple rooms (two bedrooms, bathroom, hallway), so there are cuts from one character to the next. I'm grouping everything so that we can do virtually all the scenes in one before moving on to the next (the exception being the bathroom scenes, because one character is in ALL of them, which would mean like 10-12 hours solid, and I wouldn't ask that of anyone but myself). It should still be pretty easy to shoot, and I'm going to be very conscious of the coverage I'll need. And I'm shooting everything handheld except for some of the masters, which minimizes camera setups.

It's certainly possible to do a film in one take, to film a feature in 90 minutes.
I think you did that.. do it all in one take.. and then you could spend the rest of the time doing pick ups and special shots for the more dramatic moments.

you're going to need VERY serious actors.
Usually when i film, even with great actors, they don't have their lines totally memorized.

This is why I'm begging, stealing (not really), or borrowing virtually everything so that most of the budget is going to pay people. If I can pay them, plus travel expenses, etc., I'm hoping I can hire actors (and crew) who are experienced.

Love it! I've done it – three times. Back then it was called
DTV – direct-to-video. Here in L.A. rental houses are closed
on Sunday so we could rent the equipment starting at 3PM
Friday and return it 10AM Monday for one days rent.

My advice is to up your crew. If you're going to shoot AND
direct get yourself a good AC. I am a competent DP but have
always found that if I both shoot and direct I am not spending
enough time with the actors. And the performances suffer.
Make sure you have a really good, experienced audio recordist.

The problem with using natural light in a shoot like this is time.
You don't have much daylight and the sun moves through the
shooting day. I learned to keep most of the story at night – it's
MUCH easier to darken a room.

The night thing is definitely something I will consider! I'm not opposed to it, just have no real experience with night shoots. So I'll keep that in the "maybe" file for now. Right now my strategy for changing light is to use north-facing rooms for as much as possible, and pray for an overcast but not too gloomy day.

Definitely want to get someone experienced on audio! That's my biggest weakness personally (as in I have zero experience and zero knowledge), so that's a key position I want to fill with someone who knows what they're doing. I can multitask till the cows come home on the visual end of things, but no way would I even attempt it on the audio end.


Thank you everyone for the support, encouragement, and questions! It's definitely helping me to think through my decisions and my process, which I need right now! I'll keep you all posted on my progress!

 

[moonshieldmedia]

I did a feature for $12k but shot for 21 days and it was SO INTENSE. Can't imagine 1 weekend.

I would also recommend trying to get a DP if you can find one... I think in a fast paced shooting environment if you're focused on the shots you're going to miss out on all the acting performances. The acting should be your main priority because it's easy to hire talented people to get the technical stuff right for you.

 

[Sweetie]

I'm shooting everything handheld except for some of the masters, which minimizes camera setups.

Be aware of fatigue. It does depend on what you have on the rig. When you can let the camera sit on a tripod, you spend less energy than handheld. It may make long days harder.

 

[Sasa]

Haven't been on here too much lately. But I read an article a couple months ago over on Web Film School about shooting an entire feature film in a weekend. ONE weekend, not just filming on the weekends over the course of a few months or a year. And it was like a lightbulb turned on over my head. It was an instant "I can totally do this" moment.

I'm going for it. Script is done. Schedule is getting there. Budget is mostly done (other than a few TBD items). All the breakdowns and other pre-production stuff is happening (Arri's Yamdu web app, btw, is amazing. It even works with Celtx format scripts to get everything set up. And has a free 60-day trial, and then a super barebones subscription for $5/month after that). Casting is underway. Location scouting is in progress. Working on crew.

It's one location, five on-screen characters (two more who are on the other end of a phone calls, but will never appear on screen, and their parts will be recorded separately). No costume changes. Set in the 90 minutes leading up to a wedding after the bride locks herself in the bathroom.

Absolutely barebones crew (1st AD, a couple of PAs, someone experienced on audio, crafty, and a script supervisor. I also may have someone acting as a co-producer who will be getting behind-the-scenes stuff, depending on if I can get one of the actors I want). Everyone's getting paid at least a couple hundred per day (much easier when you're only shooting for 2 days) plus backend points, and travel and lodging if they're coming from outside the immediate area. Crowdfunding part of the very small budget (under $10k, final amount at this point will depend on how many cast/crew are traveling) and paying for the rest out of pocket.

I'm 99% sure I'm going to DP and direct. Unless I happen to find a DP I'm completely in sync with. Mostly because it minimizes time taken for communication and making sure my ideas are being captured in a way that conveys what I want to convey (I've DP'd on everything I've done before, and am very comfortable in this role). Going to use natural/practical light as much as possible (this is being taken into account when location scouting).

I realize this is crazy. I'm also more energized for this project than I've been for anything (film or otherwise) in a long time. It's a one-off kind of thing. Not a model I'd plan to replicate in the future. But if (when) I pull it off, it'll be an impressive calling card for getting my next feature made. And I feel like if I'm going to invest $10k and a few months, I'd rather walk away with a feature than a short.

Advice and encouragement welcome, as are questions about specifics (including things I may not have thought of).

ETA: The bar for quality on this thing is GEFN (Good Enough For Netflix). In other words, better than a 1-2 star Netflix film.

You can't rush lighting, performances, etc.. what if something happens, an actor misses his mark over and over or starts stuttering? Are you gonna skip the scene or write up a new scene right there? What if that scene now makes the story incomprehensible. Then you're stuck right there. Stop. Decider time and you've spent all morning on it already. So many things could go wrong (and will). Even the Asylum doesn't do this. Sounds like a frustrating day/shoot to me- I quit, you should too. Quit today and never look back. You'll thank me later.

 

[Cracker Funk]

Yes! Do it! I think it's a great idea! Take the thing you're feeling passionate about and run with it!

I think Sweetie is wise to ask about coverage. I normally prefer to get maximum coverage, but when time is short, you gotta be prepared to get minimum coverage. I think it'd be a good idea for you to basically storyboard this movie, or at least have a very detailed minimalist shot-list.

I'm a big fan of improv. In my experience, it is generally more time-consuming. Just my two-cents, I think this project should be well-rehearsed and not leaning too heavily on improv.

Can't wait to see what you come up with. Best wishes!

 

[cameronchapman]

You can't rush lighting, performances, etc.. what if something happens, an actor misses his mark over and over or starts stuttering? Are you gonna skip the scene or write up a new scene right there? What if that scene now makes the story incomprehensible. Then you're stuck right there. Stop. Decider time and you've spent all morning on it already. So many things could go wrong (and will). Even the Asylum doesn't do this. Sounds like a frustrating day/shoot to me- I quit, you should too. Quit today and never look back. You'll thank me later.

Not a chance would I quit. Impossible projects energize me. I love doing them, and 9 times out of 10 I get out of them what I want to get out of them. I wrote the script specifically to be shot like this, so things like lighting are taken into account (a lot of setting up will be done the day before, since the sets don't change over the course of the film). It's also the ability to make decisions on the fly, and to come up with solutions at a moment's notice. That's something I'm used to doing in my day job and doesn't phase me. I thrive on it.

Yes! Do it! I think it's a great idea! Take the thing you're feeling passionate about and run with it!

I think Sweetie is wise to ask about coverage. I normally prefer to get maximum coverage, but when time is short, you gotta be prepared to get minimum coverage. I think it'd be a good idea for you to basically storyboard this movie, or at least have a very detailed minimalist shot-list.

I'm a big fan of improv. In my experience, it is generally more time-consuming. Just my two-cents, I think this project should be well-rehearsed and not leaning too heavily on improv.

Can't wait to see what you come up with. Best wishes!

Coverage will be minimal for some scenes (the super simple ones) so I can get more coverage for the more complex things. I have experience editing things with limited coverage, so I'm comfortable with that idea. One thing I've found is that you always wish you had more coverage, whether you have 2 takes or 20.

I'm going to have a super detailed shot list for this, for sure. It's also one reason to have an awesome 1st AD (I have someone in mind who has more on-set experience than I do). His/her primary responsibility on set is going to be to keep me on track with shots and feed me exactly what needs to be done next.

And yeah, the entire thing is scripted, but if improv happens on set, I'm not going to freak. As long as it doesn't derail the overall story or cause problems for future scenes, I'll go with it in order to potentially save some time on reshooting things a bunch of times.

My super back-up plan is to get a ton of behind-the-scenes footage, etc. so that if it's a disaster, I have the makings of a great documentary on how not to shoot a feature.

 

[directorik]

Poor Sasa. All shoots are frustrating. Many things can and do go wrong
with all shoots. So he would quit. And tell others to quit. I'm sure glad
when was asked to direct my first weekend shoot I didn't just quit. It was
terribly frustrating and many things when wrong but I learned and grew
as a filmmaker.

Other then my advice on using lighting rather than natural lighting (If the
natural light doesn't work out you are done. And natural light doesn't last
long shortening your shooting day.) I suggest you don't multi-task. I know
you are very, very good at it but in a weekend shoot you just don't have
the time. It isn't a slight on your talent, your skill in the directors chair or
you experiences, it's a personal observation directing three "weekend"
shoots and crewing on another five.

When are you shooting this?

 

[cameronchapman]

Poor Sasa. All shoots are frustrating. Many things can and do go wrong
with all shoots. So he would quit. And tell others to quit. I'm sure glad
when was asked to direct my first weekend shoot I didn't just quit. It was
terribly frustrating and many things when wrong but I learned and grew
as a filmmaker.

Other then my advice on using lighting rather than natural lighting (If the
natural light doesn't work out you are done. And natural light doesn't last
long shortening your shooting day.) I suggest you don't multi-task. I know
you are very, very good at it but in a weekend shoot you just don't have
the time. It isn't a slight on your talent, your skill in the directors chair or
you experiences, it's a personal observation directing three "weekend"
shoots and crewing on another five.

When are you shooting this?

I'll definitely look into lighting to supplement the practical.

If I can find a DP that I feel like is up for the challenge and can do it (I know a couple who could, the question is would they be interested), then I would definitely hire someone to fill that role.

I'll be shooting in August. Staying a little bit flexible about the exact dates since I'm trying to get a specific location and a specific actor for one role, and don't want to be like "we're definitely shooting on August 6-7" and then have them be like "oh, that's the only weekend that month that doesn't work for me, sorry." So instead, I've been throwing out either the 6-7 or the 20-21 (there's an event one evening on the weekend in between I don't want to miss, though I will if that's the only option).

I definitely view this as a learning experience. Trial by fire, to a large extent.

I'm not going to act like I don't have serious questions about the feasibility of this every day. But every time my mind starts saying "this is impossible" I just take one more step toward getting it done and making it happen. All I can do! And seeing the progress I'm making on the daily keeps me motivated to keep going.

 

[Sasa]

Not a chance would I quit. Impossible projects energize me.

Then failure will be your reward.

Poor Sasa. All shoots are frustrating. Many things can and do go wrong
with all shoots. So he would quit. And tell others to quit. I'm sure glad
when was asked to direct my first weekend shoot I didn't just quit.

Don't assume to know me or my experience, just because my words don't sync up with your online enthusiasm doesn't mean my advice isn't valid.

A fool thinks himself to be wise, but a wise man knows himself to be a fool- William Shakespeare

 

[directorik]

Don't assume to know me or my experience, just because my words don't sync up with your online enthusiasm doesn't mean my advice isn't valid.

I make no assumptions about you or your experience. I posted an opinion based
only on what you said. I suggest that YOU should follow your own advice and not
make assumptions. Your advise is valid. I did not say it wasn't.

I will repeat; your advice is valid.

I fully know I am a fool. I proudly admit that I know very little about filmmaking
and am learning every day. I stated nothing more than my opinion based on
MY personal experience. Your advice (valid advice) is to quit. My advice is to dive
in. I have failed often. I have learned from my failures. And those failures have
been my reward. I'm glad I tried and failed. I will do so again. So it is understandable
that I would advise others to try rather than quit.

"Our doubts are traitors, and make us lose the good we oft might win, by fearing to attempt."
William Shakespeare