Filmmaking / Directing : Advice for a First Time Low Budget Filmmaker by Beth Fox Heisinger

My advice is work with your budget and shoot what you can afford. Don't worry about what you can't afford, ie, don't get the most expensive camera if you don't have the cash. Remember, what kit folks where shooting with 10 - 20 years ago, you can purchase a camera of far greater quality for $500.

Sound tech is the key. Make sure you mic up everything and everyone and have multiple options on sound, always. And, make sure you have someone making a note of all sound recordings agains the scene footage file which will really help when editing the whole thing.

Work on someone else’s short movie first, learn from their mistakes, pouch their crew for your shoot.

The other thing ( I am assuming you are directing ) is to find a co-partner and split responsibilities. You direct, your partner deals with producing. That means Partner holds & handles the money when you are directing.

Get in physical shape. It is long days on your feet. When the crew wraps, you keep on working, plan for next day, look at dailies, figure out what you missed shooting and fix story on the fly.

Thanks for sharing your insights. Very much appreciated. :) Stay within budget and plan plan plan and plan. Split responsibilities. Got it! And sound sound and sound. Sound is an area of great importance; it can easily make or break a film. ;)

Organizing is key as well. Any tips and/or resources to share about the paperwork side of things? And equipment? Any thoughts there? Thanks!

Thanks, Willem! Great share. ;)

Consider shooting on weekends. It allows you time to review your work-in-progress, make adjustments at a less frenetic pace, and increases the availability of crew, actors, and many locations. Also cuts equipment costs since rental houses will often allow equipment checked out on a Friday and returned Monday to count as a single day rather than three days.

For the concept you want to transfer, use tools such as animation or special computer effects

Rent an Arri. Size matters :)

Dan M, I’m looking to purchase a camera... or two. Renting seems too complicated and has high insurance demands, yes?

If you have the skills of mobile cameras you can use it well

Beth Fox Heisinger I am against buying cameras... unless you plan to be a cinematographer. Just hire someone with a camera and equipment. Probably don’t need production insurance from a freelancer. Or do what I did, I hired a student at USC film school and use their school equipment for free. Go find your local film school and hire a student and get free equipment and location permits.

A Black Magic camera with a full package (lenses, monitors, tripod) sells used for about $6000. Forget that! Use your $$ on the shoot, not the equipment

Beth, this might help. It's a resource package for funding films that Jason Brubaker promotes - https://www.filmmakingstuffhq.com/bankroll-your-film-info/

Great! Thanks, everyone, for all the advice and source references. Much appreciated. Helps me and any member who is interested in making films. ;)

I may end up doing both. I would like to own a camera, or several, for myself, for fun, to explore, to learn. I have a background in fine arts, advertising, and graphics. I already have editing software. I also have a family friend who does computer special effects for a living. He’s done work for lots of directors, like James Cameron and many others. He’s done effects for many Netflix productions, like Godless. He’s got a lot of equipment. Always fun to ask what he’s working on. So, it depends... I currently don’t have a large budget to hire, but that is a hurtle that I may be able to jump over. I would love to hire or build a little team. The plan for now: we’ll see. ;)

Consider surrounding yourself / partnering with at least a couple very experienced people. You can usually tell who will support your vision and who may try to hijack it... supportive crew with some serious mileage on set will so improve your overall shoot. Also, re: Cameras, even many DPs choose to rent, not own; owning used to make sense, today not nearly as often. As an all-around filmmaker, it can make more sense if you will shoot regularly, and less if it sits in the closet between annual efforts. Share-rental platforms have made access to current gear cheaper, and last year's gear dirt cheap.

Royce, Dan M, Willem, Jean, and others, would you please recommend film equipment rental or share-rental companies. Location and access are issues. Most people that I have come across own. Some local small production groups seem to own too. Rent when they have to. But I have not even begun to really explore options. Just looking. So recommendations are greatly appreciated. I am shopping and finding simple affordable choices to buy too. Thanks!

Royce: Connecting and surrounding yourself with more experienced and knowledgeable people, couldn’t agree with you more. ;)

Jean: What happened to some of your comments? They're gone? You listed some helpful links and gave helpful tips and shared experience too. ;)

I was going to consolidate everything into one post, then I fell asleep while typing it. LOL. Will get back around to it later today.

Beth - You might try Northwest Camera in Ballard (fairly close to you). They have Arri Alexa Mini full cine kit at $1,500 per day - similar for RED Weapon & Dragon. But they also have some Sony/Canon full frame DSLRs for under $500/day. That's the closest to you I can think of.

The downside to the 'small time' rental houses is that their inventory can be a little thin - so when you set up a shooting schedule, get everybody/everything in place; they may not have the equipment available - a big waste of time/money. Owning your own equipment may be the better choice.

Full frame DSLRs have recently come a long way with good quality, rugged 4K bodies available new for about $2,000. There are a few reasonably decent cine lenses available but top-of-the-line cine lenses (and other equipment) can be rented as needed.

There is something to be said about owning your kit and I think the 4K environment will be around for awhile (yeah I know about 5K and 8K). But for the small time indie filmmaker making low/no budget films; the initial capital outlay is going to be doable for about $4,000

Doug, thanks for commenting. :) Yes, I've been looking at the Seattle area... Ballard is a little inconvenient, I'm across Puget Sound, but it is a great option, absolutely. Thanks! :) I agree, when comparing costs, access, etc, I can do far more on my own. Stretch money a bit further. Yes, I've been looking at DSLRs. Instead of paying $500 per day I could just own one for $500 (used). I agree, too, I'd love to have a kit. Been looking at mics, lighting too. Just something to use. Even just to play around. My youngest is getting into film. He's in middle school, taking a class. Would love to have something to inspire him to use on his own too. ;)

Beth - I know, I've ridden the Mukilteo Ferry many times. I've seen used T2/T5 Canons for under $500 (some with a 50mm prime) - they are 2K with a cropped sensor (I think) but they produce some darn good footage and I think you can find a few other used prime lens for reasonable. A great starting point.

A lighting tip: You can find LED floods/spots at the big-box home improvement centers that are 5,600K with an output of about 1,200 lumens (about $12.00) that will thread into one of those clip mounted bell-shaped fixtures (under $5.00). They are dimmable (I've built a 5 circuit panel for under $100). The high output cine LEDs are nice but costly if starting on a min budget. All of them are hard lights that need some diffusion - bleached and unbleached muslin on pvc pipe frames work (on a cheap thrift store tripod).

In camera audio recording sucks but using an external mic helps. Using a shotgun in a small indoor set tends to pick up a tin-canny sort of room tone but they work fine EXT. Laves work fine INT but you might try hiding a full range dynamic on set. Remember to record some room tone if you need it for ADR. There are some really good off camera audio recorders (I use a 4 ch Tascam) available but that requires audio syncing in post.

KitSplit and ShareGrid are the top gear share sites. BorrowLenses is fairly competitive with rental houses. Whether dollars go best to rental or purchase is individual. A lot of it has to do with size of project. One person may buy gear for $4K, another may spend that on a 1 day rental. Obviously, different gear. It's a broad market of tools to choose from. At least today the low budget gear is actually fairly decent.

Doug, thank you so much for the lighting and sound recording tips and tricks. Very much appreciated. ;)

Royce, thank you so much for those recommendations. Very much appreciated. I'll definitely take a look. Again, I couldn't agree with you more—a lot does depend on the size of the project. For my first, though, I'm still figuring all that out. So the advice and insights from everyone here have been truly helpful. Thank you! I do hope this thread is helpful to others as well. ;)

Get the first shot of the day done as early as possible so momentum starts to build for a great day. It can be a B-roll 2 second cut-away. Easy to film. Few crew. But it also lets the studio know that you've begun each day on your feet and already rolling film.

a few useful links for low budget filmmakers -

https://www.lensprotogo.com = a reputable and reasonably priced camera and lens rental company that ships equipment right to your door

https://www.fiverr.com = a pool of creative talent from across the globe - where you can outsource any type of work on the cheap. i.e. movie promo posters, book covers, VO's any so much more. as the name implies, all services start at the $5 price point. but realistically expect to spend $35 min after customizing your order and adding a tip. (these people live on tips, so please be generous)

https://counselforcreators.com = a truly pro-creator legal team. these guys are as supportive as tney are innovative. "We work with: freelancers, app developers, filmmakers, podcasters, consultants, authors, architects, designers, models, visual effects studios, restaurateurs, photographers, entrepreneurs and anyone else who wants to make something new happen."

now for a personal anecdote/cautionary tale about buying into the myth that filmmakers MUST have the latest "cutting edge" equipment to be successful:

for the record, I don't claim to be a filmmaker (although i do have a short under my belt). but i have been a freelancer (in video/marcom/multimedia) for well over a decade, and my partner in creative crime (and life) works for a major network, and is a multiple award winner (20+ at this point, but he absolutely hates when i tell people that because he's so humble). that being said, i can tell you that he too shares the opinion that renting is far better than buying equipment. mind you, his dept. has a $75K camera sitting in a storage room bcz it's completely obsolete at this point, and it's not even that old! we ourselves made these types of very costly technology-chasing mistakes in the past, and in some ways are still paying for them today.

we've also met more than a few "trustfundies" that purchased the latest and greatest equipment, only to wind up compressing everything down, and NOT just for the web (as so many must do). keep in mind that some people with high-end equipment don't actually know how to film anything manually (they live in auto-focus mode) - which is a colossal waste of equipment and money. so we've collectively concluded that knowing how to use a camera and developing your eye and skills is FAR more important than the type of equipment you have/own/or rent. (unless you get hired to shoot in 4k for something screened in large format.)

in other words, filmmakers should never allow themselves to be shamed into feeling inadequate just because some people are camera snobs and look down on equipment that isn't "cutting edge." all the equipment in the world won't compensate for lack of vision, training, or talent. i can distinctly remember that when apple computer came out with its first sub-pro video editing suite a female engineer friend of mine, and co-apple employee at the time, asked me if i was worried that my partner/hubby's career ops would drastically dwindle now. that's tantamount to writers worrying that everyone who buys a pen or owns the latest screenwriting software can actually write an effective novel/play/screenplay. i just smiled and bit my tongue.

Get some production forms/agreements and get everyone to sign them! Every single person working on your film. (Image release, work for hire, volunteers, actor, locations, music, etc.)

Hire a sound person with his or her own kit. Pay them. It's worth it. When you're in post, hire a Post-Sound Mixer. Pay them, too. It's worth it. *People will forgive poor image quality but NOT poor sound.

For insurance, there are some companies that will cover a small production for a fee, depending on the content. Accidents can and will happen. Ask around here and FB Film Groups for any leads. If there's a local film office, see if they can help you with permits and insurance requirements.

Not all DP's who own gear know how to use it properly. Yes, It's true. Some people will only shoot with the cameras they know. (That could be good AND very bad.) If they tell you they have "the perfect/best" camera ever... run away. THERE IS NO PERFECT camera. Every camera has it's strengths and weaknesses. Talk about how they apply to the look you want for your film and your set/post-production workflow. Anyone can point a camera and hit record BUT a true craftsman will compose images that tell the story you want to tell. People who own gear, will NOT work for free. Why? They have bills too AND need to maintain their gear. If you can't pay their full rate, see if they are willing to negotiate.

For (buying) cameras, think about where/how you're going to showcase your final film. DSLR's are fine for web content but not so great for theatrical. Arri's and RED cameras are overkill for web content and great for theatrical but expensive to rent. You could buy a camera (s) and rent the lenses & filters you need.

Think about your post work flow. 4k is great but can your computer handle it? Can the editor's computer handle it? Are you editing with proxy's and finishing in hi-res? Do you need DCP's? How many hard drive back ups will you need? (At least 3) Where will they be stored? Talk this out with people who have the specialized experience and can offer advice.

Have fun! It's only a movie. You're not doing open-heart surgery during a hurricane. Delegate whatever you can to your team, and help each other. It will save you.

Beth Fox Heisinger figure out how much you will spend on your first movie, then add 20% because every indie first time filmmaker overspends.

Since it’s your first, start small and just use a DSLR camera and skeleton crew, small cast, few locations. Then, when you aim for major festivals and global attention , hire professionals. Don’t worry about the gear. Pros take care it. You just direct and focus on story and your actors.

But if you are curious, Arri Alexa is the top dog camera but comes with a hefty price during shoot and post-production.

Recently I worked on an indie short, twenty page script with only 5 characters, 2 locations and it probably cost about $1500-$2000 per page just for production phase.

Money flies out of your pocket. For example, on this shoot, the 1st AD complained about lack of walkie talkies and the Producer had to rent them. Then we all complained about the catering and Producer upgraded the food.

A tip for all beginning filmmakers: Just shoot & edit the damn thing. It's like a writer's first draft in that it will be terrible. SO WHAT! You don't have to let anyone see it but you. Analyze, scrutinize and dissect it - it will be full of junk - not to worry. Learn from the multitude of errors - it's your film - go shoot it again. The first short film I produced is soooo bad that I've never let anyone watch it (but me). Just go do it!

Well said, Doug! That's what I hope to do. You gotta start somewhere. Lol! ;)

Thanks again, Everyone! Wow, great insights. Truly helpful. Please keep 'em coming. ;)

It really depends on what you mean by "first time." A lot of us have played with video cameras and performed skits as kids, it's like drawing with crayons these days.

If you're making a film that is meant to be distributed, plan. It's probably a good idea to use your own script (easier than figuring out someone else's), to storyboard it, and to find the forms yourself. Edit it too. That way, when your second film comes along, you'll know what the rest of the crew is doing.

A bunch of things that never get mentioned enough. #1) Everyone working on your film is probably either volunteering or is not making a lot of money. Make them feel VALUED, and make them WANT to show up for the next ten hour shoot day.... Being in charge means being confident enough to trust people and listen to their opinions and give them credit for what they bring to the table. Loads of films never get finished because the director thinks they're Michael Bay and the crew decides it's not worth their time working for a wannabe tyrant. In the same vein, feed them well. It doesn't have to be fancy or expensive, but make sure there is good quality food available at all times as nothing makes people crankier than being hungry. #

2) Be prepared. I shot a 25 minute film over a period of four days and the only way that could be done was by knowing what we wanted beforehand, and being prepared enough to quickly adapt when things didn't go exactly according to plan. As they will. Though the more you prepare, the less that will happen, and the better you'll be able to adapt to the situation when it does. It also gives your cast and crew confidence that you know what you're doing, and will help ensure that they feel like they're part of a real project with real potential, not wasting their time on something that will probably never see the light of day.

#3) Don't just accept the first draft of your storyboard. You'd never shoot a first draft of a script, but way too many people shoot what is essentially a first draft of their storyboards. Look for the drama in the scene and work with your DP to figure out not just how to get sufficient coverage but how the camerawork and lighting can enhance and support the scene.

For full transparency, you should know that I created and sell FrameForge Studio, the Emmy and Lumiere-award winning, optically accurate, previsualization / storyboarding software because I felt that storyboards were designed to improve the production process, but that most storyboard software were (and still are) designed to solve the problem of "I can't draw." So know that I'm biased about the value of good previsualization--though the Television Academy granting me an Emmy Statuette for the software's "proven track-record of saving productions time and money through virtual testing" does kind of validate my point of view... :)