Low (Microbudget) Production Notes (formerly XL1 Nightmare)

[Richard Brown]

> Wouldn't the quality of the picture drop because you're throwing out 
> image area? If you are going to shoot 16x9, perhaps high-definition 
> would be a better idea.

Not entirely. If you intend your show to be on HD widescreen TVs, then, 
yes, shoot high definition. If you want to emulate the studios and 
major producers, again, high definition is a good idea. However, for 
those truly entrenched in independent filmmaking, where the target 
distribution is common letterboxed SDI video (NOT widescreen HD) then 
the resolution of DV as to width is adequate, and losing the top and 
bottom pixels to the letterbox only a requirement, not unlike when 
shooting 16mm Academy Aperture film with a groundglass etched for 
widescreen. Similarly, many 35mm productions (non-anamorphic) use the 
full Academy Aperture, which is basically 1.33:1 (or 4x3, just like 
regular TV) and then the show is masked for 1.85:1 widescreen. 
Essentially, losing all the picture info, top and bottom, exactly like 
what would happen in a DV 16x9 cropping scheme. There really isn't a 
resolution loss, SDI video-wise. Wherein lies the difference: it's all 
about GIGO (garbage in, garbage out) in that, the more resolution you 
start with, the better off any home video experience will be.

> Might I add to the following, have someone take responsibility for 
> making sure the clapper is at the beginning or the shot (and even 
> better at the end too). Just finishing shooting a piece where I did it 
> all my self, I can tell you that it sure would have made things 
> smoother had I had someone to remember to do this and do it for me.

Just remember, "end sticks" have the clapper board upside down! It's a 
quick (and the standard) way for an editor to know which end of the 
shot you're marking. Sometimes, you can roll on a rehearsal, and 
surprise the talent with the end sticks, having not slated the 
beginning of the shot. There's many a "best performance" in a 
rehearsal, and, especially when shooting Mini DV/DVCAM, there's not 
much excuse NOT to roll. What will it take? $0.82 in high grade tape?

> I saw an article in a recent American Cinematographer (the one that 
> included tributes to "Road to Perdition" cinematographer Conrad Hall) 
> about the long hours that camera crews often are required to put in. 
> It brought up a number of concerns and information about this: The 
> quality of the work goes downhill after 12 hours. (So it may go past 
> take 3 into 4, 5, 6 and beyond.)
>
> It becomes a very definite safety issue if there isn't layover time 
> allowed to recover  sleep. In fact it told about how an Assistant 
> Cameraman on the movie "Pleasantville" lost his life after a 23 hour 
> shift when he fell asleep at the wheel of his automobile. I don't 
> think any movie benefits from excessive all-nighters.

Agreed... but, now, to elaborate...

First, an aside: remember that scene with Scatman Crothers talking 
about "shining" with little Danny Lloyd in the kitchen of the Overlook 
Hotel? The master shot on Mr. Crothers went through, as I recall, 140+ 
takes in more than a week of shooting the one shot. Similarly, the 
"Give me the bat" sequence as Shelley Duvall backed her way up the 
staircase from Jack Nicholson was well over 30 takes, something akin to 
operating a Steadicam up the stairs of the Empire State Building.

Creative excess aside, the KEYS in low budget production, are (at 
least) three fold:

1) When the days are super long, is necessary to have "designated 
drivers" (just like those present in certain drinking scenarios) who 
are simply well-rested people with no other responsibility. This allows 
dozing on the way to the set for the crew member(s). It is absolutely 
right to say working under the stress of sleep deprivation can lead to 
real productivity loss, questionable decisions, and possibly poor 
craftsmanship. Studies have been done on this stuff. For example, it is 
often far better to get 30 minutes sleep, rather than 2 hours, for many 
people in the all-nighter situation. But definitely, keep the long days 
as close to ZERO as possible. The problem always in low budget is "can 
the budget afford the time?" In the days of "you HAVE to shoot FILM," 
sets were a LOT more expensive per day. In the advent of DV and HD 
(make no mistake, HD is not that different from film in production) the 
economy of shooting Mini DV/DVCAM means more of the budget can go into 
on-camera and behind the scenes needs, as the $100,000+ film and lab 
budget is more like $1,000 in DVCAM, albeit if you want to try a tape 
to film transfer, there's the bulk of a film and lab budget right back 
in your face. The difference is, you can get to DVD FIRST, and shop a 
completed film around PRIOR to committing to the transfer.  (But if 
you're serious about theatrical release, better THINK 24P HD, using the 
Sony Cinealta or the Panasonic flavor (variable speed!) for your 
production. Using HD, however, basically brings a film-level camera 
department rental budget back to your below the line figures.

2) NEVER overwork actors. The S.A.G. contract gets it right on this 
one, even if you're using non-S.A.G. talent. Torturing an actor over a 
long day(s) affects (wrecks) performances, quite simply. Let actors 
REST with at LEAST 8-12 hours turnaround, MINIMUM. And try to keep the 
actors on no more than five consecutive shooting days. The overwork, 
long hours, and 6-7 day weeks should be reserved for the OTHER side of 
the camera.

2) a) Another little hint: if your movie has a romance scene(s), like 
the R-rated (or NC17) variety, in the situation of less experienced 
actors, SHOOT ALL THOSE SCENES FIRST. At the beginning of the shoot. 
It's just a matter of practicality. If you have ever been on a set 
trying to shoot such a scene AFTER the actors grow to despise each 
other off camera during the shoot - you know the problem mentioned here 
all too well.

3) Never skimp on catering and craft services. No pizza runs! Preparing 
from the outset to properly feed a crew returns ENORMOUS benefits in 
productivity. Oddly, it is often very wise to have a menu including 
regular and vegetarian entrees, as, you will find, the vegetarian stuff 
simply looks so enticing EVERYBODY tends to go for it. I only mention 
this as a carnivorous spectator of the phenomenon. It also allows you 
and your caterer to fine tune the menu in short order. Of course, 
catering SEEMS a huge expense in a microbudget, BUT the return in 
productivity warrants it every time. Planning the shoot around the meal 
break (about 6 hours in) is simply wise. The craft service is equally 
as important, and is best when there's a PERSON looking after it, not 
just a cooler in the shade of a tree. Again... make a crew feel like 
they're treated with respect, and the benefits flow downhill onto the 
screen. The second benefit is you can develop a crew that wants to work 
with you on the next one. Being known for a "well run" set often boils 
down to staving off hunger the right way. Many a low budget 
(microbudget) production has kept essentially UNPAID crews together by 
showing respect and concern at meal times. If the day runs LONG, make 
sure craft service can whip up soup or something 12 or so hours into 
the shoot - and after the caterer has gone to bed. It's the little 
things that provoke memories of "good shoots" rather than horror 
stories better reserved for the audience!

Good Shooting and Posting!

Richard Brown