Too slick for your budget

Was he producing this project? I see too many indie sets turn into free-for-alls. That kind of thing needs to be nipped in the bud.
 
jimpatro said:
Was he producing this project? I see too many indie sets turn into free-for-alls. That kind of thing needs to be nipped in the bud.
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Hmm. Well, yeah, it's a low-budget indie, but this set has about 3 producers. The director has actually had to take him aside and asked him to calm down--this was after he jumped in and started directing the actors and confusing them. Free-for-all indeed. I pretty much only like working with the director; I hate when everyone comes over and starts telling me how I should compose a shot, all of their ideas radically different from one another. I welcome and appreciate all creative suggestions on set, but I hate when someone makes a suggestion without any consideration of the script, the budget, or the value of the concept and the purpose it might serve.
 
That's a tough situation. Best you can do really is sit people down and appeal to the artist in them. They should know that right now you and the director and the cast are creating the story and it makes it tougher when others try to "help out".

Or mention that on professional sets each crew member has a specialty and concentrates on that.

Or lay down the law. Keep your ideas to yourself.
 
jwing said:
I think people just need to know their gear, know the rules and when to break them, know their limitations, be resourceful and creative, and develop a general sense of when and why to do a shot a certain way. A dolly or steadicam should be tools that serve the narrative or tell us something about the characters and their environment, not to show off production values or look "big time."

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Very true. I hate when you see errant shots that don't serve a purpose. They completely take me out of the moment, and occasionally out of the story as a whole.

Like that terrible 70's kungfu zoom that happens in Troy, not during an action scene, but during a normal conversation. Am I watching a huge epic movie, or am I watching a cheesy action flick?
 
The first thing that screams bad on any low budget production is the acting. So if the actors don't deliver then your fancy moves won't save the film. That said though every aspect of filmmaking: story, acting, directing, cinematography, editing etc can ruin the film if it's done badly (or can add to it if done well).
 
Here in Germany we call that "Smart Budget"
Make a 3 million film that looks like a 30 million film by using (almost) free resources that are already there.

For a period film, look out for reeanactor groups.
Most of them will be proud to be in your film for catering and free coffee.

They have all the period correct props, vehicles andwhatnot and they know more about "their" period than any Hollywood pro.

Use practical locations. Talk to the owners, elate them for your project. You often get the location for free.

Use VFX only when absolute necessary - not just for the sake of it.
Crappy VFX pulls any good film down.

Only motivated camera moves driven by scene dramaturgy. Don´t overuse that crane/dolly/steadycam just because you paid so much for it that day.

Ask for sponsoring.

Believe it or not. Lot´s of companies are willing to sponsor your film - just because they are in the credits or can do some product placement.

You can get free gear rental, catering, posters and even accommodation that way.

Frank
 
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