minimum crew size for $30,000 - 50,000 indie ?

I wonder how long it takes to really learn how to fasten a safety cable? I mean really know... You know?
 
Oh the actor? No I was thinking about damage to the gear. A few stiches and the actor will heal up... eventually ;)

Really, one good grip can save tons of time.
 
Last edited:
Just for the sake of clarity, I listed Grip as a dedicated position (with the possibility of also acting as a Driver; a lot of grips I knew in NYC on independent budget features drove the grip truck in addition to rigging the set... I drove the camera trucks when I was a 1st AC many, many times). Listing the position of grip as a possible use for a relative wasn't meant as an insult to people trained as grips and it wasn't meant to trivialize a skill set or the importance of safety on a set. I would entrust a relative to move sandbags or apple boxes on a set; if that seems problematic to people, then I'll amend my suggestion. Sorry, I was only try to be helpful...
 
My only thing about having loved ones grip goes to what is quicker. I tell my buddy to go "flag that reflection off that window" or "place a topper on that kino" or "get a 1/4 CTB and some 216 on that kicker" then, after I take 5 minutes explaining what I mean I have to wait while they start wrestling with the grip head and fiddling with bullets ("no, the clothes pins." "Why didn't you say so!?") and the when they can't get it, go over and do it. It wastes too much time. They are smart, great people and they schlep and fetch and drive and help a lot! They are software engineers and teachers. They could learn to be a grip or gaffer BUT they don't have any experience.

I pay for a grip and a gaffer for their experience in setting up quickly, safely, and efficiently.
 
Last edited:
hscully said:
My only thing about having loved ones grip goes to what is quicker. I tell my buddy to go "flag that reflection off that window" or "place a topper on that kino" or "get a 1/4 CTB and some 216 on that kicker" then, after I take 5 minutes explaining what I mean I have to wait while they start wrestling with the grip head and fiddling with bullets ("no, the clothes pins." "Why didn't you say so!?") and the when they can't get it, go over and do it. It wastes too much time. They are smart, great people and they schlep and fetch and drive and help a lot! They are software engineers and teachers. They could learn to be a grip or gaffer BUT they don't have any experience.
I pay for a grip and a gaffer for their experience in setting up quickly, safely, and efficiently.
Click to expand...

Yup! Time saved = extra money that stays in our pocket. Too bad most people think in very simplistic terms assuming: grip = money coming out for their salary... And don't see full picture.
 
I'm 100% in agreement about the time saved by having an experienced grip. Even more than that though a good grip will know how to get s*%t done in obscure situations. A good grip will be able to tell you how to get that light there in the cheapest and quickest possible way (rigging in strange locations etc), which all goes to saving time and money and giving your dp and yourself more time to think and get it right.

However if you simply can not afford it then friends can be trained. Anyone who turned up to do a shoot for a feature film with friends and family doing a significant amount of work for free, who hadn't spent time rehearsing and training those friends in their roles beforehand.. is quite frankly crazy.

And lets be realistic.. it can be done. It just takes more time... which is exactly the point that pretty much everyone who left a grip off their list said.

The less crew, the more preparation you need to do, and the more time that will take.

This doesn't have to make things impossible or even more difficult if you have the proper organisation and preparation in place. It does require a little more patience though... something most directors could do with more of.
 
Jon Thorn said:
Just for the sake of clarity, I listed Grip as a dedicated position (with the possibility of also acting as a Driver; a lot of grips I knew in NYC on independent budget features drove the grip truck in addition to rigging the set... I drove the camera trucks when I was a 1st AC many, many times). Listing the position of grip as a possible use for a relative wasn't meant as an insult to people trained as grips and it wasn't meant to trivialize a skill set or the importance of safety on a set. I would entrust a relative to move sandbags or apple boxes on a set; if that seems problematic to people, then I'll amend my suggestion. Sorry, I was only try to be helpful...
Click to expand...

Of course the internet is always hard to understand people over, one of it's few shortcomings. It just always pains me to see the Grip/PA position, as if the two were interchangeable, unfortunately I've heard one too many people with that mindset.

On a very small movie friends who want to get into g/e can be trained over the course of a feature, but of course comes the sacrifice of time.

However, I've been on too many movies where we've had a three ton, a little tow plant, and they try and say oh, we know some guys who will come out for free. You + 1 should be fine, right? Thats really where things get dangerous. Just too much gear and the keys are the only ones who know how to use it.

I wonder how long it takes to really learn how to fasten a safety cable? I mean really know... You know?
Click to expand...

Trust me, it takes a lot longer than you think.
 
I didn't state how long I thought so... your statement seems pretty frivolous. Don't get me wrong:

I am most certainly not advocating grip work being done by people with zero experience.
 
hscully said:
I think you need to get some grip help to your DP. On interiors, setups take too long if the DP has to camera op and set flags, silks, bounce and focus lights. It won't be worth the savings. You will lose it in time and the number of pages you can shoot in a day. I also agree with the suggestion of having an AC. While your DP is working with your grip/gaffer on the setup, the AC can move camera and pull focus when you go. Think through those setups and who you need to make them.

No kidding, one pro grip and one gaffer will cut your setup times in half. They'll wrangle cables, dollie grip, help your set decorator and solve inumerable problems you won't even know you have. They may grumble about lack of gear, but that usually lasts one day. OH! No freakin' pizza!
Click to expand...


I'm a DP and have played most roles in lighting department... Get someone who has played both a grip/Gaffer. YOu'd be surprised how many experienced pros have done both and know their way around quite well. I have to say I have DP'd and had to rig lights etc, alone on shoots and the project will suffer. There is a lot of compromise due to how much time verse what you want creatively when your running a DP ragged. For the record I have pulled my own focus often and it can be done, something you can get better and better at, however realistically there are some camera moves that simply require other hands to pull focus and others to make the movement.
 
We did a feature a few years back on 50k and we had MAJOR problems with having too many people on set. We had anywhere from 20-40 at times and it was just confusing. Not only for on-set stuff, but the contracts afterwards were just an enormous hassle. I'd go with as small as you can handle. 10-12 Max excl. actors. If I can give you one VALUABLE piece of advice...budget for post before you do ANYTHING! 5.1 mixes and all the little things at the end cost a lot. Also, if you can manage it, get an assembly editor to cut a rough cut of some scenes as you film. If you can show people what scenes look like, it keeps them motivated on set and will feel like they are building something...keeps morale up at 4am when you're still shooting :) Best of luck!
 
The funny thing is, I worked a short for only 15K. We had a crew of 50 and cast of 125.......


Just saying.
 
You must log in or register to reply here.
Back
Top