Filmmaking / Directing : What is the minimal crew requirements to produce a film? by Christopher Poet

What makes most low budget projects fail, especially if it includes DIALOG, is the sound. You'll hate yourself if you get into the editing room and the sound is off-mic and murky. Get somebody that knows what they're doing, and CHECK THEIR WORK. I've had sound recordists give me the thumbs up and I think everything's peachy, but they were listening to the INPUTS, not what was actually being recorded on tape/disc, whatever. Sync sound is pretty easy these days. Just get a little Zoom digital recorder, a wireless lavalier microphone for EVERYBODY who has lines, a good set of headphones. An old fashioned clapboard at the beginning and end of takes is also a godsend in the editing room. Also, the more cameras the better. It's easy to sync everything up in Adobe Premiere. Things are so much easier to do in Post these days, but you still have to get there with good footage and sound.

The other thing is somebody that will do makeup/wardrobe/continuity. You're going to be way to busy directing, lighting and shooting to worry about these details, but the things that are simple to correct while shooting are impossible to fix or hide when you're editing. Somebody on the sideline that is just looking at the actors to make sure their hair doesn't look weird or their nose is too shiny or sweaty looking will save your butt!

Sounds like a disaster before you start. Hire a seasoned line producer/Prod Manager and break everything down, every job, line item, to final edit. Shooting a movie is different from shooting a tv series.

What Dan MaxXx said, and what Greg McGee said. If you are inSound is integral and you CAN NOT EVER get away with a second-rate budget audio person.

You are missing a lot of 'else'.

Dan MaxXx Shadow Dragu-Mihai, Esq., Ipg Great idea but honestly, I am not even sure I can afford that. From my own research, most of these people charge 25+ an hour. Don't get me wrong, 25 is not nearly as bad as fifty, but I can't pay that out indefinably through the projects entire production. Don't get me wrong, I would love to, but I also would not even no where to start looking/asking. And while Stage 32 looks like a great site, it appears to be largely inactive and more focused on older posts.

And before someone mentions it because I am sure someone (Even if not you) will, I do not have the ability to go to film festivals at this present moment. Its defiantly on my to do list, but I can't do it right now.

Gregory McGee Okay, I just noted that down. Thank you for your feedback.

Doug Nelson With all due respect, that isn't even remotely useful information. I mean, I figured that bit out on my own. Why else would I literally make this post asking for the input of people who are more familiar with the technical details. I'm sorry, but I did not post this to be reminded that I am missing a lot, I posted this to find out what else myself and the crew I have need to get for this to work. I mean no disrespect or insult but if your not going to help, please don't waist my time and yours with comments like this. Okay?

Christopher Poet nobody here can tell how many crew because we haven’t read your script. That’s the First thing, the script. break down shooting days, interiors and exteriors, locations, physical size of locations, stunts, props, etc. there is a long list of unknowns.

A good DP with gear and grip equipment, and, as mentioned, a kickbutt sound person. A few PAs wouldn't hurt. It does'n't sound like you're making the next "Avengers" film.

Actors can do their own makeup and wardrobe.

Breakdown, scheduling is relatively simple. You could do it yourself after reading up on it.

Dan MaxXx Well, if your open to it I can share with you directly what we have for the scripts right now. Anything to help paint a clearer picture on what we need to see this through. I only haven't posted them on here because they are not in their final draft. Right now, myself and my directors are going over each episode to decide on any changes we want to make.

Tony S. Haha, no it is most defiantly not the next Avengers movie lol. Forgive me as I am not fully sure by this but what do you refer to my DP and PA? I am somewhat feeling like PA is a Producers Assistant, right?

DP = Director of Photography (Cinematographer, Cameraman), PA = Production Assistants, sometimes lovingly referred to as "Gofers" as in Go Fer coffee.

Christopher Poet No, thanks.

Do you have music composer?

The simple answer to your question is: One.

Backstage, actors access, casting networks and post for crew positions, ie: assistant director la, DP, line producer etc., ask people you know?!

Trace Martlew Taylor Yea we are asking around. So far we got a few helpers. I am trying to reconnect with people I knew in my Intro to Film class from high-school too but that takes time. Got to hunt them down lol. Where could I post crew positions though? Is there a website for this sort of thing similar to freelancer sites?

Aleksandar Zavisin Not yet. We have not yet started to think about music as we are still reviewing the script. But its on the to do list.

Tony S. Ah! Okay, got it. Thank you for the clarification.

Christopher Poet , this could be a very long list. But let's go with the very minimum. You need a Cinematographer (or DP), a Boom Operator, a Gaffer (and probably another electrician), Key grip for rigging, and 2 to 3 PAs (Production Assistant). Someone to do hair and make-up. Someone for costumes and wardrobe. Someone in charge of catering, living, and travel. An assistant camera operator. Sound mixer / editor, and maybe an ADR. A Foley person, maybe two. Editors (probably 2 or more). A colorist (for post). A Director Assistant (maybe 2). Someone in charge of transportation. Someone for props. A person in charge of casting and extras. And a Location manager / scout. If the budget is enough, think of: a casting director, set manager, set decorator, production manager, line producer, script supervisor (very important), line producer, a carpenter, medical services, stand-ins, a composer (or music supervisor), an accountant, and a property master. Depending on your script, you may need a stunt coordinator, stunts, special effects crew, visual effects professionals, animal handler, weapons wrangler, and so on.

Hm.. Good question.

For me, it depends on, obviously, what the film is, and who's producing it.

At the moment I'm putting together a feature film mainly to be shot in Delhi, India, but then also in Cairo, Alexandria, Istanbul, Athens, Marrakesh, Chad. When I submitted a budget to a studio producer, her first reaction was "you can't to it for that little money - your budget is incorrect!"

After actually reading the project documents and verifying the budget later on, she admitted "well, what I meant to say was that I couldn't produce your film for that budget. But you obviously can".

So. yes I agree with Doug. The minimum you need to make a movie is one.

And I don't mean to coordinate with others to make a movie. To actually, physically make a feature film. It's possible, much easier these digital days, actually, and quite affordable. In the extreme, take a smart phone, turn on record, and talk for 90 minutes - or don't talk for 90 minutes. And... cut. Done. Now you're officially a film maker. Congrats.

Now about getting paid for that film you just made...

Yes, film making is simply spending money. Like car making.

The trick is to get the money to make the car. But the bigger trick is to sell that car for more money than it took to make it.

That gets you the money to make your next car and the next, and the next.

So with writing a screenplay. You're putting something in (talent plus sweat equity) to get something out.

In the days of yore, before we had a machine for the mind, all we could hope to do was to combine a set of minds of different talents to make a team to achieve the goal of making a movie.

Not so now. We have a huge and communal machine for the mind. Called the computer. Plus the Internet, which makes YooglePedia experts of us all, in seconds.

That, plus an iPhone, can make a movie quicker, cheaper, maybe better than ever before.

Thing is, each minute of, say a million dollar feature film, or in other words each page of around 100 pages, costs around $10k, or as much as a small car.

Think about that. One page of writing, vs a Honda. Now who do you know who would rather have your page instead of buying a Honda? A hundred Hondas?

Well, that person might use his/her hundred-Honda investment to make something that's worth... a thousand Hondas. To him or her. Make sense?

Or, you find someone or some people who think your hundred pages are worth that - to them. And they put their own talent and sweat equity in it to get out of it.. what it's worth, to them.

Yes, It's possible to make a feature film, all by yourself, these days. Heck it was possible to do that back in the beginning of film making too.

The real question to the make-or-not-make is: what's it worth? To you?

Then when adding folk, ask the same question.

Yes, I've been editing for decades. I used to make a decent living out of it. But I'm still open to putting my sweat equity into projects I believe in.

But then the question you have to ask yourself, before you pitch someone like me to work on your film... is the same as above:

What would your project be worth - to me?

Depending on the nature of the shoot, your camera crew should consist of a DP/Camera Op and an assistant. For G&E (Grip & Electric) you should have a *Best Boy Swing (he/she knows how to do both) an experienced DP would know someone, same for an assistant. You should have one person dedicated to run your on set sound. A person who does make up and hair is great, too. Make sure everyone is on the same page so they can optimize their skill and time on set to tell your story.

Landis Stokes Chris Ross Leong Gustavo Freitas

Thank you all for your input and advise on the matter. Of everything listed by far, Its coming to my attention we won't need as large of a crew. As some of you said, one person with an IPhone can make a film. Quality might be questionable but that is about it. On that note, I am going to review all these notes with my directors and we will work out exactly what it is we will or will not need. Thank you all again for your input. Won't lie, from this alone I have learned quite a bit.

I make natural history documentaries - filmed all over the world in remote locations - and we use a crew of 3. A DOP - who also handles sound - a fixer/driver and me the writer, narrator and director. Three, plus equipment, fits comfortably into a small 4x4 and also into two hotel rooms or one at a pinch. We are usually on location for one month and our budget for each production is £10.000. Last year, in Mexico we shot two 60 minute documentaries piggy back - and we are masters at commando filming. Creativity and imagination is the name of the game. imdb - Andrew M Smith

Actors Access & Backstage to post for positions, also casting networks. Actors access might be good to start with as it is part if the professional ‘breakdown services’ for the industry. & initial sign up might not charge. But you will have to Kay something at some point& you do need to list union or non - union, experience & pay etc.

Trace Martlew Taylor Is that all that necessary for a small production not headed by an established company/studio? For something as small as I am doing, I am not fully sure that would be required. Unless I am wrong?

First of all, you will need a Director of Photography (cinematographer). I didn't see you mention that. But, and I mean this honestly, NOT as a dig, are you telling me that you have two directors, neither of which know what it takes and what you need to crew up? Also, I KEEP SAYING THIS, WHY NOT get an experienced producer who actually has produced before, has connections and knows what he/she is doing?

Also, I am assuming you have a sound person? This is HUGELY important. You are missing a lot, but a DP and Sound are like The Bare Minimum.

Sam Borowski "I KEEP SAYING THIS," It should be noted this is the first time you have replies on here and therefore, I do ask that you please not make it look like you are yelling with all caps like no one is listening to you. I have no objections to your suggestions, but if you can't be civil or respectful about it, I will not reply again.

Continuing on that note, please do me the kind favor and not be so insulting as to assume the experience of my current crew without politely asking. Again, it is neither civil or respectful.

That said, I have a sound mixer. The staff has grown sense I made this post with the addition of a music artist, sound mixer, and additional acting crew. On that front, everything is checking out. Additionally, I have A Director, PA, and 4 our of the six actors to fill all the roles.

And as an answer to your question sir, despite not being your business, is cost. I do not have the income or savings to support people working at 50+ an hour, in addition to covering all the films expanses plus other expenses. Some people might have that luxury, I do not, and thus I have to work with that I have to spend. So I am and I will. The Cinematographer is a work in progress. Given about another week I should have an idea on if he will be joining the crew or not.