Minimum crew

Kingda Ka

Kingda Ka

Crunching the numbers for a low-budget ($100k) non-SAG period horror film I wrote to be filmed at a buddy’s property down in Belize.

Very simple premise, I think it’s like 9-10 shipwreck survivors on a deserted tropical island. Same costumes the whole time, very simple creature. No sets to speak of – just improvised shelters and stuff. No major stunts. I already own all the period firearms. One scene might require renting a wave tank back in the states.
Any guesses at a minimum crew? Lots of local help available for general labor. If people were willing to double-up, etc.?

We could send the cast home as they get killed off.

I’m guessing the Director could double as DP? An additional operator? A sound person? A couple make-up people and/or SFX people? I would fetch coffee and whatever else was need. Who else would need to be there the whole time?
 
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Kingda Ka said:
Crunching the numbers for a low-budget ($100k) non-SAG period horror film I wrote to be filmed at a buddy’s property down in Belize.

Very simple premise, I think it’s like 9-10 shipwreck survivors on a deserted tropical island. Same costumes the whole time, very simple creature. No sets to speak of – just improvised shelters and stuff. No major stunts. I already own all the period firearms. One scene might require renting a wave tank back in the states.
Any guesses at a minimum crew? Lots of local help available for general labor. If people were willing to double-up, etc.?

We could send the cast home as they get killed off.

I’m guessing the Director could double as DP? An additional operator? A sound person? A couple make-up people and/or SFX people? I would fetch coffee and whatever else was need. Who else would need to be there the whole time?
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People can double or triple up in any way that you like. If all
you want to use is a director/DP, one sound person and a
couple of makeup/SFX people then four people is your number.

My minimum crew:
DP/operator
1st AC
1st AD
script supervisor
gaffer
dolly grip/key grip
grip/electric
grip/electric
grip/electric
makeup/costumer
set dresser/props
audio recordist
boom op
craft services/caterer
 
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Ah, I didn't think about the dollies. There is probably more work going on setting up for the next scene than I am aware of.

Does $6k per below-the-line person for 6-weeks of shooting sound ball park - assuming all travel and accommodations + rum are covered?
 
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For this, I'd have:

- DoP
- AD (who can double up as catering)
- Boom op
- Chief Lighting Technician
- Hair / Makeup
- Runner
- Runner


++++++++++++++++++

For this, I'd swap out the two runners and add:

- Sets
- Costumes (probably get away with a good runner)
- Script supervisor / continuity (probably get away with a good runner, ideally with OCD). Also, they would double up on props.
- Runner dedicated to the CLT

You can never have enough runners
 
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Possibly newb question, but can a drone replace the steady-cam/dollies?

We would be dealing exclusively with sand. Think, PIRATES OF THE CARIBBEAN sequence where they're stranded on the island with the rum.
 
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A drone can't get as close as a steadycam for safety reasons (4 to 8 meatgrinding propellors 3 inch from a face is asking for more horror than you begged for) and because they are noisy (in case you need the record sound on set, but it can also be just very distracting).
Above certain windspeeds they become unstable AND they need to change batteries very often (8 to 12 minutes is a usual flying time before the battery drains).

So, yes in theory at least a part of the shots could be don't with a drone.
But there are a lot of things to consider.
 
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Kingda Ka said:
Ah, I didn't think about the dollies. There is probably more work going on setting up for the next scene than I am aware of.

Does $6k per below-the-line person for 6-weeks of shooting sound ball park - assuming all travel and accommodations + rum are covered?
Click to expand...
If you pay $10 per hour that's $140 per person per day. Or $840
per person per 6 day week. So that fits your budget. Crazy low for
anyone with skills, but not a bad deal if travel, lodging and food is
included. I would take a job like that. But not if I were asked to do
three or four jobs for 6 weeks.

There are a LOT of challenges shooting on the beach. Audio at the
top of the list. But even moving very minimal equipment is a huge
issue. The fewer people on the crew the harder it is for the few people.
Of course you can ask people to do many jobs in order to save money
but is saving money always the best option when it come to a crew?
When you're paying so little and expecting so much it can build up
resentment.

You say "no sets" but "improvised shelters and stuff" are sets. Someone
has to set them up and maintain them over the course of the shoot.

You say there is a creature. An actor in a costume? Think about that.
Actors wearing the same costumes for 6 weeks need those clothes washed.
After a 12 hour day on the beach do you expect the actor to wash them?
Or the director/DP? Or the sound person?

You say you will fetch coffee or whatever else is needed. All alone? Are
you the producer? Do you really want to be off set getting water and
ice and whatever else is needed rather then supervising your production?
Where is the coffee and water and ice set up? On the ground?

Local people for the grunt work is a great idea but you still need to know
exactly what you need done. And they need to be in the budget.

Kingda Ka said:
Possibly newb question, but can a drone replace the steady-cam/dollies?

We would be dealing exclusively with sand. Think, PIRATES OF THE CARIBBEAN sequence where they're stranded on the island with the rum.
Click to expand...
A drone will have a very different aesthetic look than a dolly or a
stedicam. So it's not a replacement - it's a different look. And you
still need someone to operate so it doesn't change your crew needs.
 
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Awesome. Very, very good information Directorik.

Can I ask if you had your 15-person crew, in your experience how many scenes could you get done in a day?

Also, completely understand about the drone shooting. I was thinking more along the lines of pursuit shots. In other words, just to replace longer dolly shots for all the obligatory running through the woods screaming your head off that comes with horrors.
 
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directorik said:
There are a LOT of challenges shooting on the beach. Audio at the top of the list.
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You bet your buns. Production sound at the beach is a nightmare even for the most experienced, highly paid production sound teams. Wind, waves, etc. all add up to real production sound problems; and, depending upon the type of scene, very few places to hide lavs and transmitters, and even plant mics are difficult to place. So either hire a top PSM/Boom-Op, or plan on complete ADR of all beach scenes.
 
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Also make sure that you're using prop fire arms / blank guns for the movie. Even though they are period guns you'll still want to be as safe as possible.

If I were producing this, the bare minimum crew I'd want would be:

DP - Cam Operator
gaffer
dolly grip/key grip
grip/electric
make up artist - gore fx (assuming your creature needs set-up & maintenance)
audio recordist/boom op
AD who can double as craft services/caterer & misc if needed
2 Runners
 
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Kingda Ka said:
Awesome. Very, very good information Directorik.

Can I ask if you had your 15-person crew, in your experience how many scenes could you get done in a day?
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Depending on the script, the actors and the skill of the small
crew I have gotten five and as many as eight pages a day.

Typically I count on getting three. But that's with an experienced
crew. And the bare minimum I mentioned. And (of course) the
script. A horror film shot outside on the beach is crazy difficult.
Continuity is difficult and audio is a huge issue. It can often seem
simple; same costumes, few "sets", contained location, but it isn't.
I've done too many of this type of movie. The more crew you can
use in grips, makeup and support like PA's and food the easier it
is on everyone involved. Doubling and tripling up makes the shoot
much harder.
 
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Kingda Ka said:
Audio, do you mind my asking what ADR is?
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ADR = Automated Dialog Replacement

The actors go into a studio and say their lines over again so the post sound team has clean audio with which to work.

https://www.youtube.com/watch?v=f2HKN1N2SZQ

After the first two minutes or so jump to 5:50.

Kingda Ka said:
Interesting about the beach sound difficulty. What is the solution? Lav mike everybody?
Click to expand...

Solid production sound is all about eliminating as much extraneous noise as possible from the set, getting the mic(s) in as close as possible while properly aimed, and clean, solid levels in the audio recorder.

The biggest issue is that waves, especially, are very inconsistent. As the wind changes direction, the tides change, etc., and the "rhythm" of the waves changes from take to take. (Yes, this applies to lakes as well.) This makes it tough to use the production sound "as is," as the changing rhythm and perspectives of the waves becomes a distraction pulling the audience out the illusion. It's close to impossible to eliminate waves from the dialog tracks with noise reduction as waves and voices occupy many of the same frequencies.

How you "mic up" depends upon way too many variables to give you any cohesive advice. Besides, this is an issue you need to discuss with your PSM (Production Sound Mixer; s/he may also simultaneously swing the boom on lower budgeted projects). Then, if you decide to use lavs, you both need to discuss this with wardrobe & H/MU and the DP - that's what you're hiring them for, their knowledge and experience and dealing with the issues specific to your project.
 
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Oh, wow. Yes, the opening sequence is the crew rowing a longboat to escape natives in pursuit. It would not only be shot ON the waves and have all the real rowing noise. That entire sequence would probably need to be ADR.
 
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