Ideal Budget Setup for Independent Film. How far am I ?

[SPZ]

Just written the script for my first short film, feature (It is 30 minutes long- what should I call it?). Purchased the HVX, and with 3 years dvx experience, feel confident with it (couple of months of testing.)

Have the P2store plus 2x 8gb cards.

Have a Powerbook G4 1.67 for P2 dumping.

Have Final Cut Pro 5.04, and am working quite well with 1080p 25 files. So editing wise, no major problems. Also have a g5 tower.

HAve a Manfrotto 519 head and Miller DV Solo legs. Works well with the HVX, even tough a bit heavy.

Steadicam system (Glidecam smooth shooter)

What should I be looking for in order to be completely independent in therms of production? I don't want to rent, because It is almost impossible to schedule something over here to be done in a certain time frame. Actors are semi-pro (No one does acting as a full time job here, so its hard to get everyone together for a scheduled 2 to three days shoot).

I'm thinking of purchasing a lighting kit, probably an Arrilite Junior 650 kit will suffice?

I'm also thinking of purchasing the Redrock Micro, but it most certainly will not be used for this production, due to their very slow delivery.

What Else? I envy you guys in the USA and Europe, since most of you can get a decent team from film students and or aspiring DP's, cameras, etc... Over here, one has to think of everything! And DP's over there bring their own lighting gear... No such thing over here...

[dougspice]

That's a nice kit, but yeah, you need a good bunch of lights and grip equipment to be really ready for a shoot. The HVX needs a lot more light than the DVX.

I'd recommend you try to put together a kit that can give you at least 2000W (tungsten equivalent) of total light in various configuations. But then you're also going to need C-stands, clamps, expendables, and all that. That stuff's not cheap; it really would be better if you could find a rental house for it. Or line someone up who will for sure buy the stuff off you when you're done.

Also, I don't see you listing any sound equipment. That's pretty critical; hopefully you can find a sound guy who can bring equipment.

[SPZ]

That's a nice kit, but yeah, you need a good bunch of lights and grip equipment to be really ready for a shoot. The HVX needs a lot more light than the DVX.

I'd recommend you try to put together a kit that can give you at least 2000W (tungsten equivalent) of total light in various configuations. But then you're also going to need C-stands, clamps, expendables, and all that. That stuff's not cheap; it really would be better if you could find a rental house for it. Or line someone up who will for sure buy the stuff off you when you're done.

Also, I don't see you listing any sound equipment. That's pretty critical; hopefully you can find a sound guy who can bring equipment.

Doug, you're absolutelly right. I have a crappy boom mic that works terribly, and certainly would need something reliable in this department ( but in the $1000 budget). Any suggestions? Maybe I could get a sound guy with all the equipment, but, seriously speaking, it will be hard.

As for the lights, do you think a basic 3 650w lamps is enough? Of course the more the merrier, but I'll be using this to light mainly interaction between two actors...

[Green Hornet]

Doug, you're absolutelly right. I have a crappy boom mic that works terribly, and certainly would need something reliable in this department ( but in the $1000 budget). Any suggestions? Maybe I could get a sound guy with all the equipment, but, seriously speaking, it will be hard.

As for the lights, do you think a basic 3 650w lamps is enough? Of course the more the merrier, but I'll be using this to light mainly interaction between two actors...

$1,000 may not be enough.
I would get flo lights instead of hotlights. It will get really hot, and really fast with lights and people in a room. At minimum, get one flo light, and a small fresnel hotlight. You can bouce the light for now.

For sound, on the cheap, get a boom mic, and boom pole. Upgrade the quality as you have money to do so. Any boom mic will sound better than a non boom mic.

[Owen]

I envy you guys in the USA and Europe, since most of you can get a decent team from film students and or aspiring DP's, cameras, etc... Over here, one has to think of everything! And DP's over there bring their own lighting gear... No such thing over here...

Don't envy too much -- the troubles you describe are quite common here too. I'm doing a 30 minute short right now as well, and finding it quite difficult to get multi-day commitments from anyone... while keeping busy thinking of everything.

[peter orland]

Just written the script for my first short film, feature (It is 30 minutes long- what should I call it?).

It's a short. Technically it has to be over 60min to be concidered a feature.

What Else?

On top of what you have listed and in no particular order.

1: A boom pole, a shock mount, and a decent short or long shotgun condenser mike + decent length leads.
2: Enough money for food for the crew and cast.
3: Enough money for beer for the crew and cast (this point very important).
4: An assortment of key grip items - stands, flags, cutters, diffusers, gels etc...etc.
5: Lights - always tricky with a limited budget and no intention of hiring (which is usually the best way to go when it comes to the best bang for your buck). I agree with the Hornet, a Flo is always good for interiors so I would split the money up starting with a Flo, then a Tota, then a fresnel, then that's about the budget. If you have limited lights then it's even more important to have all the grip stuff.
6:A tireless spirit, a generous heart, and an open mind.

[SPZ]

Thanks for the input everyone. I definetly won't forget the beer!

But are you guys sure about the flo? I don't like the "White"look of flourescent lights... I know I can add ome filters, but...

[peter orland]

T I don't like the "White"look of flourescent lights... I know I can add ome filters, but...

With the tungsten tubes the look is not particularly white. Also you can always turn down the dimmer to achieve a more warm output. The advantage of the flouro's is the low drain on the power and the lack of radiated heat, both quite important if you are shooting indoors with standard power and at close range.

As a side note, it is always hard to advise a lighting setup for someone who wants to buy with limited funds.

[DC]

On top of what you have listed and in no particular order.

1: A boom pole, a shock mount, and a decent short or long shotgun condenser mike + decent length leads.
2: Enough money for food for the crew and cast.
3: Enough money for beer for the crew and cast (this point very important).
4: An assortment of key grip items - stands, flags, cutters, diffusers, gels etc...etc.
5: Lights - always tricky with a limited budget and no intention of hiring (which is usually the best way to go when it comes to the best bang for your buck). I agree with the Hornet, a Flo is always good for interiors so I would split the money up starting with a Flo, then a Tota, then a fresnel, then that's about the budget. If you have limited lights then it's even more important to have all the grip stuff.
6:A tireless spirit, a generous heart, and an open mind.

I don't know you . . . but I like you already.

[Illya Friedman]

SPZ,

Careful with the spending. Better to rent the lights and mics and pay your actors and crew, feed everyone well and have full production insurance. Plan on an extra 15% for contingency. You'll be glad you did.

Do it before you learn what so many have the hard way... Put the money on the screen, not in a collection of gear, props and dashed hopes.

I.