CRProductions
Active member
Quoting incase anyone else who knows can answer..I keep hearing adam had an ultra low budget agreement from SAG but I'm trying to figure out how if his budget was over 200k...
"Corrado" - A production blog
- Thread starter taormina
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Quoting incase anyone else who knows can answer..I keep hearing adam had an ultra low budget agreement from SAG but I'm trying to figure out how if his budget was over 200k...
CRProductions
Active member
Ohhh...that makes sense...I always wondered that because Ive seen conflicting numbers like that on other films as well and always been confused..but now I see the light.
I may have to defer those payments to myself as I dunno how much I can get, lol
I may have to defer those payments to myself as I dunno how much I can get, lol
Shawn Philip Nelson
Veteran
I'm curious Adam, you say that you were spreading the 750k number everywhere but on this blog so that distributors will use 750k as the starting point in their thoughts. But, then I finally bought the HD magazine and "300k" is smack dab on the front cover.
Mickey Munday
Well-known member
oh, so the $750k is roughly what is costs after you've been paid for the script, as the producer and the director?
Zak Forsman
Major Contributor
the only rag distributers read is US Weekly so they know who the bankable b and c level stars are.
CRProductions
Active member
This is exactly was has always confused me about budgets..but that raises another question, do distributors ask to see your budget and things when determining how much to pay you for your film, I mean I'm sure they don't just throw a number out..but if they do just take your 750k number...and it only cost 300...hmm..however, me looking at the information and cast and things from Corrado, I would've believed it was 750k..hell I would've believed 7 figures..especially if there is a known face in every scene...doesn't even seem do-able at 300k, that is simply amazing..can't stress that enough
taormina
Hates to Rent
It actually wasn't doable at 300K, even though the article says that. That was before production. I have over 350 into it, closer to 370K. Sure, I can show a budget, I can show you any budget you want justifying 750K. I didn't even factor equipment rental in....I bought all my equipment (not included in the 350K number) and used it for free in the shoot.
People can think whatever they want, the only thing I know for sure is that if I wrote someone a check to make Corrado it could not have been done for 350K. Not even close.
People can think whatever they want, the only thing I know for sure is that if I wrote someone a check to make Corrado it could not have been done for 350K. Not even close.
taormina
Hates to Rent
Went to do the color on Friday, and sat in the color bay on a DaVinci with my DP, Matt the colorist, and our very own Dan Brockett who was doing the remainder of the article, the post production segment. It was so exciting to see the movie come to life....
Matt the colorist said he doesn't often see small films like mine in there to do color - it is a step most filmmakers neglect at this budget level. It makes such a huge difference, though.
The color wash we gave the movie looks alot like Heat - real desaturated. The footage looks awesome!
Matt the colorist said he doesn't often see small films like mine in there to do color - it is a step most filmmakers neglect at this budget level. It makes such a huge difference, though.
The color wash we gave the movie looks alot like Heat - real desaturated. The footage looks awesome!
Will Clegg
Veteran
Hey Adam,
Do you plan to get the finished sound and colored movie files back and then create the DVD yourself? Or are you going to have someone create a DVD using a hardware encoder? (I'm assuming that you just have a software encoder at home, like most of us). Will you add any design to the DVD that you show to distributors, or just set it up to auto-play?
Do you plan to get the finished sound and colored movie files back and then create the DVD yourself? Or are you going to have someone create a DVD using a hardware encoder? (I'm assuming that you just have a software encoder at home, like most of us). Will you add any design to the DVD that you show to distributors, or just set it up to auto-play?
taormina
Hates to Rent
The layback of audio and music will be to D5 tape and that will be my finished master. I will have one D5 with text, one without, and probably a digibeta downconvert.
The post house will make me a DVD without menu so that I can burn copies to send out as screeners. I don't intend to make a fancy DVD with menus and chapters....I'll leave that to the distribs.
puredrifting
Major Contributor
Adam:
Thanks for inviting me to the color correction session, it was a kick. This was one of the first time I have seen HVX-200 footage, edited uncompressed and ran through a DaVinci. I had no idea that HVX-200 footage could look like that! You and Dave, your DP, did a great job in giving Corrado a very cool and distinct look.
You guys are going to freak out when you see the finished film, it looks amazingly good. Just goes to prove, once again, it's the talent and knowledge behind the lens that matter. Yes, you can make an extremely professional looking film with a $5,000.00 camera ;-)
Talk to you soon Adam.
Dan
visugeek
Well-known member
Adam,
Congratulations on the project. I found the thread after reading the first installment of the article in HD Video Pro and have been reading it as time permitted over the last couple of weeks. It's one of the most helpful, insightful pieces that I've read about filmmaking. It really hit home. I'm in the process of gathering my own equipment for a similar adventure in the next 18-24 months. Reading about your experience has been very inspirational, it really is something that is within reach with the right amount of talent, money, elbow grease, and balls. Well done!
I hadn't thought about having that much known talent in my project, but you've really opened my eyes to how availible actors of that caliber might be, providing they like the script. Based on your model it's time to really start working on my script and create something that will knock some actors socks off. The good script gets the good talent which gets the good distributors...then you get the money, then the power, then the women...but I digress. A valuable lesson.
If you wouldn't mind, I had a specific question about equipment. I know that you sold your equipment when you finished your first unit shooting, and I was curious how much of it you needed during the shoot. For example, how frequently were the HMI's put to use, and would it have been better to just rent them?
I've got a small tungsten light and grip package already for shorts that I've been doing with some co-workers. Between 3 of us in the group we have a similar grip and light package to yours sans the HMI's and the truck. The truck is on my list as well when the time comes.
We're using the shorts to hone our chops a bit before completely diving into a feature but several of us want to take that plunge.
Thanks again for creating this thread and sharing your experiences, it's really lit a fire with the guys in our film club!
Chris Simmons
Congratulations on the project. I found the thread after reading the first installment of the article in HD Video Pro and have been reading it as time permitted over the last couple of weeks. It's one of the most helpful, insightful pieces that I've read about filmmaking. It really hit home. I'm in the process of gathering my own equipment for a similar adventure in the next 18-24 months. Reading about your experience has been very inspirational, it really is something that is within reach with the right amount of talent, money, elbow grease, and balls. Well done!
I hadn't thought about having that much known talent in my project, but you've really opened my eyes to how availible actors of that caliber might be, providing they like the script. Based on your model it's time to really start working on my script and create something that will knock some actors socks off. The good script gets the good talent which gets the good distributors...then you get the money, then the power, then the women...but I digress. A valuable lesson.
If you wouldn't mind, I had a specific question about equipment. I know that you sold your equipment when you finished your first unit shooting, and I was curious how much of it you needed during the shoot. For example, how frequently were the HMI's put to use, and would it have been better to just rent them?
I've got a small tungsten light and grip package already for shorts that I've been doing with some co-workers. Between 3 of us in the group we have a similar grip and light package to yours sans the HMI's and the truck. The truck is on my list as well when the time comes.
We're using the shorts to hone our chops a bit before completely diving into a feature but several of us want to take that plunge.
Thanks again for creating this thread and sharing your experiences, it's really lit a fire with the guys in our film club!
Chris Simmons
taormina
Hates to Rent
Hi Chris,
I used all of the equipment I bought at some point with one big exception - We didn't use too much Tungsten. What's interesting about this is that tungsten fixtures are the easiest to find and cheapest to buy. I had tons of tungsten. We never used my 3 2Ks even once.....we only used the small stuff fleetingly.
If I had to do it over again I'd by more HMIs and a set of Kinos. The HMIs were in constant usage at all times. The bigger tungsten I could live without.
I used all of the equipment I bought at some point with one big exception - We didn't use too much Tungsten. What's interesting about this is that tungsten fixtures are the easiest to find and cheapest to buy. I had tons of tungsten. We never used my 3 2Ks even once.....we only used the small stuff fleetingly.
If I had to do it over again I'd by more HMIs and a set of Kinos. The HMIs were in constant usage at all times. The bigger tungsten I could live without.
adam - what all equipment did you use? did you already mention this at the beginning of the thread? if so i can just go back and search....seem to remember you saying it before but not sure if that was another thread.
how much or rough ballpark figure do you think you spent on additional renting of equipment (lights, audio, etc)?
how much or rough ballpark figure do you think you spent on additional renting of equipment (lights, audio, etc)?
taormina
Hates to Rent
The short answer is that in my case the investors put up all the money and recoup half the profits. In the world of venture capital a newly financed company can expect to give up 80-85% of the ownership in most cases, so I have a good deal.
This is the thing with wealthy people - they get asked to invest in things all the time. They are usually very bright when it comes to business and they are inherently aware of the risks of such a venture.
In my case there are no risks for them because I promised to pay all the money back if the film failed.
On movie number two, I will do it differently - offering up 80% of the profit for 100% of the investment, but this time, it is a true investment. If the movie bombs, I walk away untouched. It's a risk to them for sure, but not really, since it won't bomb. Yes, I know I'm smug about it.
taormina
Hates to Rent
I don't really think so. Making an selling a feature film is an act so few people have actually done. Think of it this way - a tiny fraction of the population has made and sold a feature. Contrast this to the amount of people who talk about doing it and you will quickly find that you have become an authority on the topic overnight and there will be no shortage of funds to make another.
Using the "least amount of investors so as not to burn anyone" smells like a contingency plan to me. I do not have nor require backup plans. Don't fail and you won't burn anyone.
See the previous post. As to the value of my contribution, I'm fairly low key about that - for my next film my compensation besides back end will be scale - WGA scale for the script (37K) and DGA scale to direct (about $75K) plus some slush money to produce. Think about 150K.
taormina
Hates to Rent
I think the advice I originally gave in this thread is still perfectly valid for a first time feature. Not sure if I would do it that way on the second feature, but I would for the first.
For those just tuning in it went like this:
Pay your biggest actor the most you can afford, don't dicker on the rate, and get him signed on to the project. This will give the film instant credibility and a force multiplier when calling other actors. Call the agent, get the rate, pay the rate, sign the actor.
As a second time director now, with a ton of publicity, buzz, and great contacts, it's easy to get actors who want to be in my films. Even big ones. Especially now that the budget has increased, it's just easy. For a first timer on a Corrado type budget, here is what you face:
1. You are nobody.
2. You bring nothing to the table for them. Even if your script is great, you may not be able to execute it properly. They need to make sure they get paid.
3. Actors need to be really selective on the roles they take. Your movie could do more harm than good to their career.
So just pay the first guy what he wants, then bargain down the rest.
You do not make multiple offers for the same role to multiple actors. This is rude, inconsiderate, and God help you get two actors who respond favorably to your offer.....you've instantly painted yourself as a douche bag.
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