I am trying to find out what crew members are needed for a low budget indie film, to make a great film and I thought about looking at an indie film online and looking at the end credits to see what film crew members are used in that indie film and I wanted to find out if that was a good way to find out what film crew members are needed on and in an indie film...So does anyone know?
What film crew members are needed on a film set?
- Thread starter kid_filmmaker
- Start date
I'm going to suggest that you take your experience from shooting your shorts and apply that to the feature film with a little difference.
I saw your list and it's a little off, but you get that. You've top loaded it with upper end production crew (though associate producer isn't really a needed role) though you're missing a lot of the obvious, more important roles, like the First AD, second AD, Production Manager (unless you're having the line producer continue into production, if so, carry on). While you can (depending on the complexity of the production) wind those 3 roles into 2, it may not be a smart option in the end.
I also noticed there are no post production crew except the editor. Is this intentional? Don't forget those people as you may find yourself low on funds running into post production. You don't want to be at the point where you've run out of cash and need to raise more.
As for your first film, for a no-brainer drama, you may be better off taking it from a different angle where you minimize crew and save your cash. Keep the shoot simple. Sound Mixer/Boom/Grip/Stills, DOP/Gaffer/Grip, AC/AD/Producer/Base MUA/Location Scout/Production Manager/Stills/Script Supervisor, Director/Writer/Grip/2nd AD and your Cast/Grip/Stills. As for food, have the producer organize with local restaurants to deliver the food at appropriate times. The smaller you go with the crew, the easier the Producers/AD's job becomes. At this level, it's essential to do a lot of pre-production planning, but it also allows you to be more flexible without a larger crew to help manage and adjust. Depending on the level of adjustments/adlibbing while shooting will determine your need for a dedicated script supervisor. Also, when you have less crew, paperwork is often the first thing that gets tossed aside. This will create more work for post production.
The problem with having more people is that you're going to need to manage them and learn what they do to be able to get the most out of them. There's no point in having a script supervisor if you don't take advantage of their skills and so on. Much so for the rest of the crew.
There are people on your list who aren't essential as roles are often doubled up on low/no budget productions, though they help you move faster (Grips, Best Boy, set decorator, 3rd AD, Extras Casting Director, Transport Captain and so on). Whether you NEED them depends on the complexity of the shoot and the schedule. Whether you need a Dolly Grip, Crane Operator etc depends on the production value you require.
Makes sense right? About as clear as mud? If it makes sense, you're about ready to make some decisions on your own. If it's as clear as mud, your first port of call is a great Line Producer. Help them understand your production and then trust their advice.
Good luck with your production.
I saw your list and it's a little off, but you get that. You've top loaded it with upper end production crew (though associate producer isn't really a needed role) though you're missing a lot of the obvious, more important roles, like the First AD, second AD, Production Manager (unless you're having the line producer continue into production, if so, carry on). While you can (depending on the complexity of the production) wind those 3 roles into 2, it may not be a smart option in the end.
I also noticed there are no post production crew except the editor. Is this intentional? Don't forget those people as you may find yourself low on funds running into post production. You don't want to be at the point where you've run out of cash and need to raise more.
As for your first film, for a no-brainer drama, you may be better off taking it from a different angle where you minimize crew and save your cash. Keep the shoot simple. Sound Mixer/Boom/Grip/Stills, DOP/Gaffer/Grip, AC/AD/Producer/Base MUA/Location Scout/Production Manager/Stills/Script Supervisor, Director/Writer/Grip/2nd AD and your Cast/Grip/Stills. As for food, have the producer organize with local restaurants to deliver the food at appropriate times. The smaller you go with the crew, the easier the Producers/AD's job becomes. At this level, it's essential to do a lot of pre-production planning, but it also allows you to be more flexible without a larger crew to help manage and adjust. Depending on the level of adjustments/adlibbing while shooting will determine your need for a dedicated script supervisor. Also, when you have less crew, paperwork is often the first thing that gets tossed aside. This will create more work for post production.
The problem with having more people is that you're going to need to manage them and learn what they do to be able to get the most out of them. There's no point in having a script supervisor if you don't take advantage of their skills and so on. Much so for the rest of the crew.
There are people on your list who aren't essential as roles are often doubled up on low/no budget productions, though they help you move faster (Grips, Best Boy, set decorator, 3rd AD, Extras Casting Director, Transport Captain and so on). Whether you NEED them depends on the complexity of the shoot and the schedule. Whether you need a Dolly Grip, Crane Operator etc depends on the production value you require.
Makes sense right? About as clear as mud? If it makes sense, you're about ready to make some decisions on your own. If it's as clear as mud, your first port of call is a great Line Producer. Help them understand your production and then trust their advice.
Good luck with your production.
Ok, well let me ask this, how do I decide what film crew members I need for my film? Do I do this by looking at other films in the same genre and make up of mine's, do I do this by reading my script? It was different from when I directed shorts, because it was just myself, my younger brother who was the DP and my friend who was the actor, that was it....This seems difficult trying to get together film crew for a feature film.
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You can start with my list. You've seen it. That will give you a place to start.
In general that's the minimum needed. But of course you can make a
movie with fewer people. You've gotten some excellent suggestions here.
It sure is. Depending on where you live and how much you are paying
it can be damn near impossible.
Thank you for replying and yeah, I have about 90k and am in West VA, so there's not much of any great resources there....
With 90K you can pay a skilled crew. I've done if for less. And West
Virginia isn't a filmmaking "backwoods". There are excellent tax
credits available and a fairly good crew base. You may need to pay
some travel and lodging expenses but with your budget it can be
done.
My suggestion is you put a line item in your budget for a local UPM.
They can help with crew needs.
You started this thread under the incorrect assumption that there is a simple way of determining what crew members are needed to make a "great low budget indie film". Your assumption is incorrect for a number of reasons; most obviously it's incorrect because there is no simple way of determining the size and composition of a film crew! It's a complex calculation with a lot of variables/factors such as: Genre, budget, location/s, cast type and size, complexity of the script (each scene/shot in the script) and aesthetic style. In addition, there are those factors which add up to determine the necessary production value, which also determines crew size/composition: Distribution format/media (Youtube, DVD, TV and/or cinema), who/how you are aiming to distribute your film, what returns on your investment you are aiming for and your target audience expectations. There are a various other factors and sub-factors but this is the most simplified list I could come up with!
It's because your original post did not detail ANY of these factors that you got answers such as; "how long is a piece of string" and "anywhere from one to 250"! You could go through loads of similar films on IMDb and look at their crew lists but unless all the variables I've mentioned above are identical, then the best this exercise will accomplish is a very approximate "ball-park" STARTING estimate of the likely crew size/composition. However, Directorik has already provided you with a good generic starting estimate. Going beyond a generic starting estimate, to an exact/specific crewing requirement for your film leads on to your last question ....
The simple answer is: You get an experienced professional Producer and/or Line Producer. The complex answer is ... too complex! It's too complex because you're essentially asking; "what do I need to know to be a good, experienced Line Producer?", and that question cannot accurately or comprehensively be answered on an internet forum because a professional Producer or Line Producer's job is not a simple or easy one (which is why the really good ones get paid so much)!
Making a few shorts with your mates is relatively easy, when things don't go to plan or even if you don't have much of a plan to start with, it's no big deal. You try and make the best out of what you've got and the worst that can happen is a bit of disappointment and some wasted time and effort. Putting $90k into a feature is something else entirely! Unless you know what you're doing or unless you're struck by a miracle, there's almost no chance of you ever getting more than a fraction of your investment back.
G
It's because your original post did not detail ANY of these factors that you got answers such as; "how long is a piece of string" and "anywhere from one to 250"! You could go through loads of similar films on IMDb and look at their crew lists but unless all the variables I've mentioned above are identical, then the best this exercise will accomplish is a very approximate "ball-park" STARTING estimate of the likely crew size/composition. However, Directorik has already provided you with a good generic starting estimate. Going beyond a generic starting estimate, to an exact/specific crewing requirement for your film leads on to your last question ....
The simple answer is: You get an experienced professional Producer and/or Line Producer. The complex answer is ... too complex! It's too complex because you're essentially asking; "what do I need to know to be a good, experienced Line Producer?", and that question cannot accurately or comprehensively be answered on an internet forum because a professional Producer or Line Producer's job is not a simple or easy one (which is why the really good ones get paid so much)!
Making a few shorts with your mates is relatively easy, when things don't go to plan or even if you don't have much of a plan to start with, it's no big deal. You try and make the best out of what you've got and the worst that can happen is a bit of disappointment and some wasted time and effort. Putting $90k into a feature is something else entirely! Unless you know what you're doing or unless you're struck by a miracle, there's almost no chance of you ever getting more than a fraction of your investment back.
G
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OP - Seriously, anyone that's a about to throw the best part of a hundred grand into a film should really know what they're doing. You don't particularly sound like you do.
If you are sure this is REALLY what you want to do, then listen to the advice of the more experienced members above.
In your position I would hand that money to someone with a proven record of making great movies on that kind of budget. Be happy in knowing that your film is in safer hands, with some chance of it actually being completed.
.....or I would buy a house and get on the property ladder. I guess if you've got 90k to burn then you probably already are though.
What APE said pretty much hits the nail on the head. Your issue is you don't know what you need, so you may not be the right person to interpret your script to what you need.
You could, but how to do determine the different variables between your films?
That's a great start.
Yep it's tough. If it wasn't tough, there'd be heaps of people making 9 figure films all the time.
It all starts with the budget. The hard part is there are so many ways to put together a budget. One way is to work out what you need to make the film. Then work out what that costs. Then divide what the daily costs are by the amount of cash you have available and that's your schedule (not quite as simple as that, but you get the idea). Have less money? Shave days off the schedule.
In the end, it all comes down to money. Film finance is a complex subject. Now I know you already have your budget, so you don't have to finance it. Well the budget typically sets the schedule (and the script, though the script is usually reshaped to fit the schedule & budget). The schedule combined with the budget sets what your limits are for what crew you can hire. Since you only have $90k, what (forget who) said before, you're more likely to come up with a "who can I afford" over "who should I have".
What does your schedule look like? Can you accomplish your shoot in 7 or 8 days? If not, you may need to sacrifice some crew so you have more time to shoot, though sacrificing some crew may cost you more time than it's worth. These are answers that a skilled Line Producer/Production manager will able to help you with.
As a director you need to have a vision about how the movie should look and feel. (Style)
Otherwise the DOP has no direction. (That can be cool...)
Style is something obvious and vague because it entails almost everything:
- era an setting of the story (props, clothes, setdesign)
- use of color
- use of cameramovement (or not: tripod, dolly, shoulder, cars, drones, etc?)
- use of light (contrasty or not or whatever)
- certain Depth of Field choices (influence the amount of light needed)
- the pace and rhythm of the movie and each scene (a lot of cuts or long takes or a mix)
Every aspect has its effect on the budget, crew and time needed.
Besides that you need to break down the script into the number of locations you need to shoot.
My honest advice:
make a short with more crew first.
It will help you gain experience and overview for your feature.
Plus it's easier to overcome mistakes in a short project than on a feature.
And by then you may have an idea of the style you're going for.
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Well thank you all for your replies once again, they were very helpful....
Please forgive for saying this Kid film maker because I am new here as well, but you really are way too rude to some of the members, who did not have to respond to your questions, but did so simply because they thought that it may help you.!
You should really apologize for that.
Thank you for your time.
You should really apologize for that.
Thank you for your time.
Say what?? I was NOT rude, I haven't insulted or said anything rude at all - I said thank you to them responding with answers. Should I offer them MORE than a thank you?? Girl bye...
I chose directing because the stories I have, I feel I'm the only one who can tell it best. I don't want another director directing my story that I want to tell and....it's something I've wanted to be since I was ten...