Excellent resource, and thread, keep it up :beer:
"Corrado" - A production blog
- Thread starter taormina
- Start date
- Status
taormina
Hates to Rent
Thanks guys.
Camera Dept.
The camera department consists of the following gear:
The A camera will more or less always be mounted to a jib arm that rides on a dolly.
I haven't selected a jib arm yet, but I will very soon. Something simple, light and robust.
I have purchased a dolly. I bought a Rowe Cinedolly from Neil Rowe here on the site. Well, I purchased his wheel assembly anyway, cause he doesn't sell finished dollies. Basically it's a 32 wheel dolly that is made out of 1/2" plywood, banded with an aluminum bump strip, and predrilled on top so my tripod legs fit on there easily. It rides on 1" sch. 40 PVC pipe - I have 20' of track.
The jib /dolly combo will be great, andfairly mobile.
In a low budget movie like mine, you must add production value wherever you can. Name actors, good locations, and plenty of camera movement will all add up to a small budget picture looking like a larger budget picture.
Our A camera jib / dolly will always be in use and moving whenever I can, while our B camera will be for handheld stuff, inserts, and coverage.
Movement is the name of the game with this picture.
Here is wisdom: The only thing that turns a decent script into a great movie is a strong visual style.
While I don't know if I can fully pull it off, there are plenty of movies that have what I consider to have ho-hum screenplays but great style. Would it be better to have a great script? Sure it would. But I have to make do with what I have.
So I must inject style into the movie. My own style. That really boils down to intresting cinematography.
Camera Dept.
The camera department consists of the following gear:
- HVX200
- (1) 16gb card, (1) 4 gb card
- Letus Extreme
- Cavision matte box
- Cavision Follow focus
- Bogen 516 head, manfrotto sticks
- Marshall VR70HD 7" monitor
- Panasonic BTLH1700 production monitor
- Nikon primes - 28,35,50,85,105,135
The A camera will more or less always be mounted to a jib arm that rides on a dolly.
I haven't selected a jib arm yet, but I will very soon. Something simple, light and robust.
I have purchased a dolly. I bought a Rowe Cinedolly from Neil Rowe here on the site. Well, I purchased his wheel assembly anyway, cause he doesn't sell finished dollies. Basically it's a 32 wheel dolly that is made out of 1/2" plywood, banded with an aluminum bump strip, and predrilled on top so my tripod legs fit on there easily. It rides on 1" sch. 40 PVC pipe - I have 20' of track.
The jib /dolly combo will be great, andfairly mobile.
In a low budget movie like mine, you must add production value wherever you can. Name actors, good locations, and plenty of camera movement will all add up to a small budget picture looking like a larger budget picture.
Our A camera jib / dolly will always be in use and moving whenever I can, while our B camera will be for handheld stuff, inserts, and coverage.
Movement is the name of the game with this picture.
Here is wisdom: The only thing that turns a decent script into a great movie is a strong visual style.
While I don't know if I can fully pull it off, there are plenty of movies that have what I consider to have ho-hum screenplays but great style. Would it be better to have a great script? Sure it would. But I have to make do with what I have.
So I must inject style into the movie. My own style. That really boils down to intresting cinematography.
taormina
Hates to Rent
This is reallly happening, isn't it....
Making a feature has been a dream for years. But it's finally dawning on me that ths movie will actually be made.
T-minus two months until liftoff. Today I'm kind of stressed and overwhelmed by the whole thing. I've shot plenty. My DP, 1st AC, 2nd AC and Gaffer were on my 35mm short and my pilot. We work well together and I know them.
But this seems so much more.....serious. I feel like I have these huge shoes to fill. Everyone has huge expectations for this film. By even blogging about it, I'm further setting myself up for big expectations.
What if the movie sucks? What if everyone hates it? What if my "style" comes across as bullshit?
Now you know why there are so many aspiring actors, aspiring directors, whatever. It's easy to aspire.
To actually perform is another story. It takes you waaaaaay out of your comfort zone. Now everyone is watching your every move. Critics will relentlessly deconstruct every flaw. Zealots on IMDb will be quick to post every continuity goof.
In a sense, it was easier when I was just thinking of making a movie. And that is why so many people in hollywood milk that concept.
****, even in Dov Simen's book he tells you to tell people that you are "a producer with many projects in various stages of development". So many people in this business trot out that mantra to the point where you cannot separate the doers from the dreamers.
Do yourself a favor and seize control over your dream. If it remains a dream to you it is easy, convenient and somwhere you can escape to without any work, sacrifice or worry.
The reality is a long, hard, lonely road with not much help. But if it was easy, everyone would do it.
I posted a Haiku in Anhar's magnificent Haiku thread. I liked it very much, and it seems very apropo now:
accumulate tools
argue about what is best
never shoot movie
Make sure that's not you.
Making a feature has been a dream for years. But it's finally dawning on me that ths movie will actually be made.
T-minus two months until liftoff. Today I'm kind of stressed and overwhelmed by the whole thing. I've shot plenty. My DP, 1st AC, 2nd AC and Gaffer were on my 35mm short and my pilot. We work well together and I know them.
But this seems so much more.....serious. I feel like I have these huge shoes to fill. Everyone has huge expectations for this film. By even blogging about it, I'm further setting myself up for big expectations.
What if the movie sucks? What if everyone hates it? What if my "style" comes across as bullshit?
Now you know why there are so many aspiring actors, aspiring directors, whatever. It's easy to aspire.
To actually perform is another story. It takes you waaaaaay out of your comfort zone. Now everyone is watching your every move. Critics will relentlessly deconstruct every flaw. Zealots on IMDb will be quick to post every continuity goof.
In a sense, it was easier when I was just thinking of making a movie. And that is why so many people in hollywood milk that concept.
****, even in Dov Simen's book he tells you to tell people that you are "a producer with many projects in various stages of development". So many people in this business trot out that mantra to the point where you cannot separate the doers from the dreamers.
Do yourself a favor and seize control over your dream. If it remains a dream to you it is easy, convenient and somwhere you can escape to without any work, sacrifice or worry.
The reality is a long, hard, lonely road with not much help. But if it was easy, everyone would do it.
I posted a Haiku in Anhar's magnificent Haiku thread. I liked it very much, and it seems very apropo now:
accumulate tools
argue about what is best
never shoot movie
Make sure that's not you.
taormina
Hates to Rent
Ok, I'm over it. Onto the next topic - the Grip Truck
The last few productions I was part of, we rented a grip truck. A grip truck at this level is nothing more than a box truck with a tommy lift gate. It isn't some fancy 40' production van or something.
The last time I rented a truck it was a 28' unit. Nice truck. I rented it from Beverly Hills Rent a car for I don't remember how much. The nmae sounds like some executive high class deal but they really rent grip trucks.
I sent my DP to go pick up the truck because he wanted to swing by his place right after that and load up all his gear into it. So I prepaid with a CC and he went to get it. When he showed, they made him sign a form asking what kind of extra insurance ha wanted. Not knowing what I wanted to do, he just signed for it all, God bless him, to the tune of about 500 in extra insurance. I was covered for acts of terrorism, meteors, UFOs, nerve gas, you name it.
So when I saw the truck roll in 1/2 hour late on day 3 of our TV pilot, and I saw the dumbass driver clip a low hanging tree in his haste, and destroy one of the corner caps, I said "Don't sweat it. Thank God Dave bought all that exta insurance"
You can imagine my shock when I returned the truck and they called a few days later saying the corner cap damage was going to be $1100.
Here is Wisdom: No truck rental agency will ever cover overhead damage to the truck, ever, never.
It's their little scam. Cause they know that's where all the damage is. I was covered six ways from sunday on insurance and they would not cover that busted corner cap. I complained loudly that their policy was deceptive and unfair, that I had paid over half of the damages to useless insurance, but the manager pointed my attention to the microscopic fine print about overhead damage not being covered.
You probably know me well enough to know what I said: I will never rent again.
So for Corrado I wanted the flexibility of my own truck. Used trucks are relatively cheap; a decent Isuzu NPR can be had for about 10K with a liftgate, and they last forever. I wanted to spend less, and have a slightly smaller truck, so I looked around.
I visited a local U-Haul lot and lo and behold they had a bunch of the 14' box trucks for sale.
Now you might be thinking of going to the 17' truck instead for more room. They have plenty of those for sale too. Note, though, that the box of the 17' truck is only 1' longer than the 14.....don't ask me why...and the 17 footer actually has a smaller load capacity.
The next size uo was 21', and I didn't want to get that one because I want my grip truck to be stealth, i.e. a 14' box truck can go anywhere a car can, and can park in most larger car stalls. It does not draw too much attention, and that means you can park, deploy, run and gun, and leave without having this massive truck that screams "big budget movie"
The truck I bought was a 1990 Ford F350 Diesel with a 14' box. The truck has 155K miles on it, and all the service records from day 1. Uhaul has a great maintenace program and mostly everything on my motor has been replaced once or twice.
I paid $2000 for the truck. They wanted $3200. Amazing. They also have gas trucks there that are slightly newer but guzzle more fuel and are heavier duty.
I wanted the diesel beause it's a 7 liter International Harvester engine on a Ford transmission with a Dana rear end. It's built like a fricking tank and runs like a top.
And since u-hauls have that sleeper over the cab, it makes them feel larger than they actually are. A 16' Isuzu has more overhead room in the box (useless) and no sleeper. I think mine actually has the same amount of room.
So I sanded, primed and painted it white, getting rid of that hideous orange. Bought a new black bumper, cleaned it up so that it looks respectable.
Here's the clincher: if you build out the box, you can fit way more stuff in there than if you rented the truck. I have all my stuff in there - when I rented, My stuff easily needed a 20' truck to fit it all because it was all thrown in.
Inside the box I am have built / am building:
The build out has taken me about a month of planning and building. If you buy a uhaul you must remove the rails inside the box - those are useless. I then laminated 3/8" ply with epoxy resin to the box sides to stiffen the box so that i could mount things like shelving to the walls.
I like to just go hang out in the box it's so cool. And almost done.
I'll post some pics of it tommorrow.
The last few productions I was part of, we rented a grip truck. A grip truck at this level is nothing more than a box truck with a tommy lift gate. It isn't some fancy 40' production van or something.
The last time I rented a truck it was a 28' unit. Nice truck. I rented it from Beverly Hills Rent a car for I don't remember how much. The nmae sounds like some executive high class deal but they really rent grip trucks.
I sent my DP to go pick up the truck because he wanted to swing by his place right after that and load up all his gear into it. So I prepaid with a CC and he went to get it. When he showed, they made him sign a form asking what kind of extra insurance ha wanted. Not knowing what I wanted to do, he just signed for it all, God bless him, to the tune of about 500 in extra insurance. I was covered for acts of terrorism, meteors, UFOs, nerve gas, you name it.
So when I saw the truck roll in 1/2 hour late on day 3 of our TV pilot, and I saw the dumbass driver clip a low hanging tree in his haste, and destroy one of the corner caps, I said "Don't sweat it. Thank God Dave bought all that exta insurance"
You can imagine my shock when I returned the truck and they called a few days later saying the corner cap damage was going to be $1100.
Here is Wisdom: No truck rental agency will ever cover overhead damage to the truck, ever, never.
It's their little scam. Cause they know that's where all the damage is. I was covered six ways from sunday on insurance and they would not cover that busted corner cap. I complained loudly that their policy was deceptive and unfair, that I had paid over half of the damages to useless insurance, but the manager pointed my attention to the microscopic fine print about overhead damage not being covered.
You probably know me well enough to know what I said: I will never rent again.
So for Corrado I wanted the flexibility of my own truck. Used trucks are relatively cheap; a decent Isuzu NPR can be had for about 10K with a liftgate, and they last forever. I wanted to spend less, and have a slightly smaller truck, so I looked around.
I visited a local U-Haul lot and lo and behold they had a bunch of the 14' box trucks for sale.
Now you might be thinking of going to the 17' truck instead for more room. They have plenty of those for sale too. Note, though, that the box of the 17' truck is only 1' longer than the 14.....don't ask me why...and the 17 footer actually has a smaller load capacity.
The next size uo was 21', and I didn't want to get that one because I want my grip truck to be stealth, i.e. a 14' box truck can go anywhere a car can, and can park in most larger car stalls. It does not draw too much attention, and that means you can park, deploy, run and gun, and leave without having this massive truck that screams "big budget movie"
The truck I bought was a 1990 Ford F350 Diesel with a 14' box. The truck has 155K miles on it, and all the service records from day 1. Uhaul has a great maintenace program and mostly everything on my motor has been replaced once or twice.
I paid $2000 for the truck. They wanted $3200. Amazing. They also have gas trucks there that are slightly newer but guzzle more fuel and are heavier duty.
I wanted the diesel beause it's a 7 liter International Harvester engine on a Ford transmission with a Dana rear end. It's built like a fricking tank and runs like a top.
And since u-hauls have that sleeper over the cab, it makes them feel larger than they actually are. A 16' Isuzu has more overhead room in the box (useless) and no sleeper. I think mine actually has the same amount of room.
So I sanded, primed and painted it white, getting rid of that hideous orange. Bought a new black bumper, cleaned it up so that it looks respectable.
Here's the clincher: if you build out the box, you can fit way more stuff in there than if you rented the truck. I have all my stuff in there - when I rented, My stuff easily needed a 20' truck to fit it all because it was all thrown in.
Inside the box I am have built / am building:
- Racks for my lights
- A gel rack
- a wall mount for my dolly
- Large shelves for distro equipment
- a locker for all my stingers
- a locker for my sandbags
- C-stand and gobo arm rack
The build out has taken me about a month of planning and building. If you buy a uhaul you must remove the rails inside the box - those are useless. I then laminated 3/8" ply with epoxy resin to the box sides to stiffen the box so that i could mount things like shelving to the walls.
I like to just go hang out in the box it's so cool. And almost done.
I'll post some pics of it tommorrow.
Luis Caffesse
Admin
Fantastic information here, Adam.
Thanks for taking the time.
This is the kind of thread that people will keep coming back to and learning from for a long time to come.
Keep it up.
:thumbsup:
Thanks for taking the time.
This is the kind of thread that people will keep coming back to and learning from for a long time to come.
Keep it up.
:thumbsup:
Luis Caffesse
Admin
I saw a couple of references to Dov Simens in your posts - so I looked him up on Amazon.
I know he does workshops (and has a massive DVD thing on his site), but would you recommend his books?
I've heard the name here and thre, but I'm not too familiar with him.
I'm always on the look out for good information - especially on the producing side of things.
Thanks for any info.
(as though you haven't shared enough already)
I know he does workshops (and has a massive DVD thing on his site), but would you recommend his books?
I've heard the name here and thre, but I'm not too familiar with him.
I'm always on the look out for good information - especially on the producing side of things.
Thanks for any info.
(as though you haven't shared enough already)
taormina
Hates to Rent
Hi Luis,
I do own a copy of Dov Simen's book "From Reel to Deal". You may not know this, but Dov also teaches a course called "two day film school", which is a live version of his book.
You'd think that I'd be following his book like a manual while I produce Corrado, but it really isn't as informative as it looks. You all may disagree with me, but here's what I don't like about Dov's book / course / methodology:
1. He really doesn't have very much recent producing experience. By his own admission, he started teaching in 1989, and all of his prodution experience is before that. Seriously, in 1989 hardly anyone had a PC, much less an editing suite. Digital production didn't exist. His section on video in the book sounds like someone told him some simple terms and he kind of ran with it. How can you learn from a guy that hasn't produced in over 20 years? To me, the model has changed a bit.
2. His knowledge of SAG contracts is grossly outdated. My copy, published in 2003 calls a 300K feature an "experimental" film. Obviously any reference to SAG, which is critical to making a movie with name actors ws written before SagIndie and all their low budget contracts.
3. His fundraising ideas seem kind of comical - rounding up a bunch of dentists to attend some sort of reading from an actor of the proposed script? Come on.
4. His section on screenwriting (12 pages!!!!) is veeeery basic. I realize you could write a whole book on screenwriting, but what bugs me most is things like scoring your own screenplay with a point system, and assigining yourself points, refining your story until you score a perfect 70 points. How honest are people really going to be with themselves here?
5.His section on equipment rentals is way off as well. It references things like Nagra recorders, Arri BL3s, and other pre-war equipment. To me, this seems way old even for a 2003 vintage book.
6. His way of budgeting is really irritating. Shooting with what you have on an amateur level is all good, but at some point, with real actors and crew, you need to have a real budget with calculated numbers.
Overall, his tehnical knowledge is disappointing. I could go on and proceed to cut up the book, but it does do one thing well:
It makes you believe you CAN make your own film. And for this, it's probably worth it.
Can you follow it line by line and make your own movie? Probably not. Just like anything in life, sort out the weed and throw out the chaff.
I do own a copy of Dov Simen's book "From Reel to Deal". You may not know this, but Dov also teaches a course called "two day film school", which is a live version of his book.
You'd think that I'd be following his book like a manual while I produce Corrado, but it really isn't as informative as it looks. You all may disagree with me, but here's what I don't like about Dov's book / course / methodology:
1. He really doesn't have very much recent producing experience. By his own admission, he started teaching in 1989, and all of his prodution experience is before that. Seriously, in 1989 hardly anyone had a PC, much less an editing suite. Digital production didn't exist. His section on video in the book sounds like someone told him some simple terms and he kind of ran with it. How can you learn from a guy that hasn't produced in over 20 years? To me, the model has changed a bit.
2. His knowledge of SAG contracts is grossly outdated. My copy, published in 2003 calls a 300K feature an "experimental" film. Obviously any reference to SAG, which is critical to making a movie with name actors ws written before SagIndie and all their low budget contracts.
3. His fundraising ideas seem kind of comical - rounding up a bunch of dentists to attend some sort of reading from an actor of the proposed script? Come on.
4. His section on screenwriting (12 pages!!!!) is veeeery basic. I realize you could write a whole book on screenwriting, but what bugs me most is things like scoring your own screenplay with a point system, and assigining yourself points, refining your story until you score a perfect 70 points. How honest are people really going to be with themselves here?
5.His section on equipment rentals is way off as well. It references things like Nagra recorders, Arri BL3s, and other pre-war equipment. To me, this seems way old even for a 2003 vintage book.
6. His way of budgeting is really irritating. Shooting with what you have on an amateur level is all good, but at some point, with real actors and crew, you need to have a real budget with calculated numbers.
Overall, his tehnical knowledge is disappointing. I could go on and proceed to cut up the book, but it does do one thing well:
It makes you believe you CAN make your own film. And for this, it's probably worth it.
Can you follow it line by line and make your own movie? Probably not. Just like anything in life, sort out the weed and throw out the chaff.
mentatDUKE
Veteran
Adam, this is an AMAZING thread. Can't wait to see your film. Thanks for all the info and congrats on winning all the small victories.
Cliff Wildman
WildMember
Adam - this is awesome! Thanks for putting it all out there for us.
Looking forward to pics of the grip truck. I've had daydreams about that very thing. I hate renting too, and I love the independence you're building for yourself out of this first feature.
Can you give us an idea of what kind of insurance you carry, and the cost? Do you have a general liability policy, just ones for the shoot, or both?
I'm glued, can't wait to hear more.
Looking forward to pics of the grip truck. I've had daydreams about that very thing. I hate renting too, and I love the independence you're building for yourself out of this first feature.
Can you give us an idea of what kind of insurance you carry, and the cost? Do you have a general liability policy, just ones for the shoot, or both?
I'm glued, can't wait to hear more.
taormina
Hates to Rent
Thanks guys, I'm really humbled here. To be honest, I didn't think I was doing anything particulary extraordinary - I thought I was doing what is done in Hollywood every day.
I thank you all for your support!
Cliff - I was originally quoted insurance from Truman Van Dyke (LA) at $7367 per year. This allowed me to do as many productions as I wanted in a year, and covered 150K in owned equipment, 200K in rented equipment, liability at $1M, and allowed the use of squibs and pyrotechnics.
Insurance would be significantly cheaper if pyrotechnics and squibs were not used.
I'm a one trick pony though, and can't seem to come up with a story that doesn't involve squibs ;-)
I am however, trying to lessen my insurance expense though for the simple reason that I don't need a whole year's worth of insurance. It is extremely unlikey that I will make more than one feature a year. The insurance I was quoted was great for someone that does many shorts, music vids, commercials, or whatever. A guy who is always working.
I got in this to be a feature director. My equipment is not for hire and neither am I. I am just doing my own thing now as I.....don't really work well with others ;-}
I already have financing lined up for my next movie (don't ask what that is - I haven't even written it yet!!!), but there's no way that's going to get off the ground in 2008.
I am looking at two months of pre-pro on this, 15 days of filming, and probably 2 months of post. Then you factor in festivals and promotions and I basically can't do more than one flick per year. Which is why I am trying to get insurance just for the picture hoping it will be cheaper.
In order to get an insurance quote, you must send them your budget and a copy of the script. They want to read the script to ensure you are telling the truth about the stunts / pyro / squibs you are using.
I'll let you guys know the cost as soon as I get the quote back.
I thank you all for your support!
Cliff - I was originally quoted insurance from Truman Van Dyke (LA) at $7367 per year. This allowed me to do as many productions as I wanted in a year, and covered 150K in owned equipment, 200K in rented equipment, liability at $1M, and allowed the use of squibs and pyrotechnics.
Insurance would be significantly cheaper if pyrotechnics and squibs were not used.
I'm a one trick pony though, and can't seem to come up with a story that doesn't involve squibs ;-)
I am however, trying to lessen my insurance expense though for the simple reason that I don't need a whole year's worth of insurance. It is extremely unlikey that I will make more than one feature a year. The insurance I was quoted was great for someone that does many shorts, music vids, commercials, or whatever. A guy who is always working.
I got in this to be a feature director. My equipment is not for hire and neither am I. I am just doing my own thing now as I.....don't really work well with others ;-}
I already have financing lined up for my next movie (don't ask what that is - I haven't even written it yet!!!), but there's no way that's going to get off the ground in 2008.
I am looking at two months of pre-pro on this, 15 days of filming, and probably 2 months of post. Then you factor in festivals and promotions and I basically can't do more than one flick per year. Which is why I am trying to get insurance just for the picture hoping it will be cheaper.
In order to get an insurance quote, you must send them your budget and a copy of the script. They want to read the script to ensure you are telling the truth about the stunts / pyro / squibs you are using.
I'll let you guys know the cost as soon as I get the quote back.
Last edited:
taormina
Hates to Rent
Oh, by the way, Cliff, as for the "independence I'm building" - I'd love to take credit for that but I started doing it after I heard a rumor that Peter Jackson, when given the green light on the three Lord of the Rings movies, purchased all of his equipment up front for the three features, then rented it back to the prodco for a healthy profit.
I really don't know if it's even true or not, but it sounded like a great idea. If you want to be a trucker, you buy a truck. If you want to be a mechanic, you buy tools. And if you want to make more than one movie, you buy movie equipment.
I think I'm standing on the shoulders of giants with some of my ideas.
I really don't know if it's even true or not, but it sounded like a great idea. If you want to be a trucker, you buy a truck. If you want to be a mechanic, you buy tools. And if you want to make more than one movie, you buy movie equipment.
I think I'm standing on the shoulders of giants with some of my ideas.
Cliff Wildman
WildMember
from everything he's done down there to build a studio that puts lucas to shame, i'm guessing you're probably right.
having your gear set up like this seems to open a lot of doors as far as continually getting projects off the ground. worst case you've got a good chunk of production cost at nil and best case, ala peter jackson, you make money off of it from those investing in your film. total win/win.
thanks for the insurance info, i figured it worked that way. my eyes nearly popped out at the price until i saw the part about squibs/blanks:kali:
HDkilledFILM.
Burnin' down the House
Oh we are in the same boat there...:nads:
I've filmed my last work for hire project awhile ago.
taormina
Hates to Rent
Cliff - I thought the price was OK considering my tv pilot last year was 4 days and $1200 for insurance...no squibs or pyro on that one. Still, I don't need a year.
Bosindy - Still looking for a sound man, have a stack of resumes. I always always hire a sound guy. Sure, the camera will record sound, but we will also have a sound guy with his gear.
The rates I've been quoted so far are $500 per day for a sound guy with gear, and 300 per day for a good boom op.
To be honest, I could probably get away with recording audio in camera, but this is just that much better.
Bosindy - Still looking for a sound man, have a stack of resumes. I always always hire a sound guy. Sure, the camera will record sound, but we will also have a sound guy with his gear.
The rates I've been quoted so far are $500 per day for a sound guy with gear, and 300 per day for a good boom op.
To be honest, I could probably get away with recording audio in camera, but this is just that much better.
- Status