The 100k Budget

A

AnyTek Productions

So after many years shooting no/very low budget films I am now the Co-Producer of a film with a 100k budget. My first reaction to this budget was "WOW so much money..."

WRONG

Yes it is a lot of money and we are fortunate to have it. Point!

Just think of a feature film you shoot with no money and think of the value it would be if you paid everyone and did everything "properly"... Some films would go well over 100k.

But now with this budget you must move from the weekend-to-weekend and hire real crew for multiple weeks. Don't get me wrong, I love paying crew because 1. you get what you pay for and 2. you can now really tell them what to do (within their duties). I have done this with many music videos and love it.

But budgeting this film has become a nightmare since the investor's money hinges on us attaching a "named" actor and not just a cameo... $$$$

So anyway... we plan to shoot this film with 2 EPICS (to save time) in only 2 weeks (6 days a week 10-12 hour days). But since we are going to be shooting in the UK and well rain is quite common, we wanted to schedule an extra week for pickups in case of bad weather or any other reasons.

Since this is my first time working with a budget like this in practice (I have budgeted many in theory just for fun), is there a standard way to budget pickups??? Just scheduling 6 extra days at full price costs quite a bit and if we only use 2-3 days, then the extra money could have gone somewhere else. At the moment I have 3 full weeks budgeted but before I send this budget draft to the investors, I wanted to be clear on the pickup days subject.

Any thoughts???
 
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Honestly, you'll probably find shooting dual camera will slow you down more than anything, at least if you have a DP who's really a DP and isn't just shooting with available light. Cut one out and you sohuld save a fair chunk of money.

In terms of how many pickups you need, it really depends on the film and your crew, as well as your initial schedule. You should definitely bring on a good 1st AD.
What is sometimes good to do is have your editor data wrangle on set, or have a Runner take dailies to the editor at the end of every day. This way, the editor knows what's coming in, will have an idea of how it's going to cut, and can let you know if there's something particular they may want or need. Much easier, quicker and cheaper to pick it up right then and there, than to wait til the pickup shoot.

A week of pickups is probalby good practice - at the end of the day, if you only use 3 of those days, you've then got money to go elsewhere. On the other hand, if you only budget for 3 days worth of pickups and you really need a week, you either have to cut things, or try and pull money from somewhere else.
 
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Thanks for the input...

We originally scheduled for 3 weeks of shooting and then 1 week pickups. But a wise producer gave me this advice... "100k??? Don't shoot a 100k film in 3 weeks, shoot in 2. Get 2 great cameras, a great DP with great crew and save time and money".

I took this advice because cutting 1 week saved about 15,000 and the extra camera, operator and AC only cost 6,000. So this saved about 9,000 (give or take).

Yes we have a DIT attached who will also run dailies and color grading. This guy has a van with a 1 full editing system and a color grading system inside as a work space and loads of equipment for dumping and backing up data. When I got is application I said to my self "Hired!!!"

So now I think I will talk to the DP again and get his take on this. The only thing is that he only has 1 feature credit but a lot of music videos, corporate and short film credits. His reel was amazing and for the price for him with his EPIC I could not say no. So now I am worried that maybe 2 cameras may actually slow down since I do not think he has run a 2-camera shoot before. Must check to be sure.

Anyway, thanks again for the advice...

Any other input from others would be great too ;)
 
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2 cameras is really difficult to light for, and any time saved in setups is made up for, and sometimes more than made up for, with the extra time to tweak lighting, or alternately the lighting suffers. It works with the right crew, or with the right type of film - comedies for example will work with two cameras as they're generally not overly dramatically lit. A good gaffer will go a long way, but at the end of the day, you might find it take just as much time having two cameras on a relatively low budget.
 
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Cheap Extra Lighting?

If you do need to find cheaper lighting, i am an independent film maker with lots of lights I hire out without charging VAT and can fit into a budget so if you do need to do pick ups and want a really good deal, check out my site: www.aeonhire.com
 
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Aeonhire said:
If you do need to find cheaper lighting, i am an independent film maker with lots of lights I hire out without charging VAT and can fit into a budget so if you do need to do pick ups and want a really good deal, check out my site: www.aeonhire.com
Click to expand...

Normally, I'd be flaming this post for hijacking a thread but and the blatant self-promotion but...

Hello AH! We met through NC at that swimming pool short! When NC hired an Oscar-nominated DoP to replace that other DoP and is now on a fund-raiser to shoot the other three shorts in the series. How are you?

In case you're wondering who I am, I'm the big, Chinese biker dude who was getting divorced.

Anyhow, I want to plug this service. I can guarantee that if you want something, this is a fantastic way for low-budget Indie film makers to get their hands on kit. I have personally hired lighting through Aeon and they give a better-priced and more accessible service than any other kit hire provider I have used in London. Please note, you will have to do a little legwork yourself but it is more than worth it considering the experience I have had with other hire companies.

Due to the way hire services work in London, hiring kit for Indie film making is difficult and expensive but this is the only source I will use going forward.

So there's a plug for you - and you will get a call from me soon to hire some more kit! I have been passing your name on because you are great for people like me.
 
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gorillaonabike said:
So there's a plug for you - and you will get a call from me soon to hire some more kit! I have been passing your name on because you are great for people like me.
Click to expand...
I love this community at IndieTalk. :yes:

You guys are great.
thumbsup.gif
 
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A lot of film-makers dont ear-mark money for proper boom/mic, and it ends up costing more in the backend with post/ADR. Choose your recording talent carefully.

Also, and I admit full bias here - remember that composers also like to get paid. I know I do!
 
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AnyTek Productions said:
So after many years shooting no/very low budget films I am now the Co-Producer of a film with a 100k budget. My first reaction to this budget was "WOW so much money..."

WRONG
Click to expand...
It’s not easy, is it?

I agree with the others, a two camera shoot (with two camera
crews) will slow you down and cost more money even though
a wise producer gave you contrary advice. And I understand your
nightmare with the small budget - what’s left over after you pay
for the name there is very little left over to pay your crew (and
other cast) a decent wage. I’ve been there.

Pick up days: good idea. Don’t forget to schedule cover locations.
I’m sure you haven’t - just felt the need to mention it. If you feel
you must hold money for 5 pick up days then that take away
from what you can spend on the 12 days of production.

For example: you’re paying your name $30,000; that leaves $70,000.
One third ($23,000) for post leaves you $47,000 for production.
Since you want to hold one week for pick ups then you only have
$31,600 for the two weeks. Pretty clear to me. You are covered if
you need five or six days in week three - if you use less you have
more for post. Or you come in under budget and return the money
to the investors.

Yes, you have to sacrifice - you would have to sacrifice if your budget
was $500,000. My thoughts: cut your camera crew in half and add
a small prep crew and and extra lighting/grip package. that will save
more time than two cameras and crew.
 
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Just make sure that you get the production sound right. Retain a professional sound crew. Every minute and Deutsche Mark you spend on production sound will save you ten (10) in the dialog edit in audio post, and hopefully greatly lessen the amount of ADR you will have to do.

"Sound is half of the experience."


No surprise this advice is coming from me, is it?
 
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