Crew

Before I launch into my production section, here's a little about the crew you might require for a low-budget film:

EXECUTIVE PRODUCER, PRODUCER, WRITER, DIRECTOR AND EDITOR

For a low budget film, all of these are normally you! You financed the film and are the top dog (Executive Producer), you will plan and oversee the production (Producer). You wrote the film (Writer) and will direct it (Director) and most likely edit it too (Editor), although you can post on shootingpeople.org for producers, editors, writers, etc.

For my film I had two additional producers come in. These were my good friends Hakan Besim and Stuart Folley. They helped not only with the planning and location scouting, but also with the production itself.

DIRECTOR OF PHOTOGRAPHY

This person works with the director to make sure that, visually, the film meets the director's vision. The DoP will light the sets and help with camera-setup and even camera-work. Everything they do comes down to making the film feel a certain way. They will make numerous suggestions on how the set can be lit but will first want you to 'walk them' through the action so they can decide how to best set up the lights to do things like cast appropriate shadows or produce effects appropriate to the atmosphere the director wishes to convey. On my film my DoP used 3 redheads, 2 lilliputs and natural light in order to produce the mood I wanted.

SOUND RECORDIST

This chap, who normally brings his own earphones, will monitor the recording of the sound, whether it is directly into the camcorder, or into a minidisc or DAT. They will make recommendations on what kinds of microphones they require, but ultimately your budget and flexibility will decide that. My Sound Recordist used a Seinheisser ME66/67 microphone and a DAT machine. In most circumstances, you, the producer, will have to rent a DAT machine as the sound recordist may not own one. DAT machines have an in-built pre-amp which means you can crank up the sound if it is too weak.

BOOM SWINGER

The boom swinger is not always required unless there is a lot of shots where different people are speaking. Normally a sound recordist can swing with slow paced dialogue himself. If this happens, have someone use an agreed signal so he knows where to swing the boom next.

CAMERA OPERATOR

I am the kind of director that loves to do this myself, and when I am absolutely unable to do this I have my DoP step in. For exteriors I had a special cameraman do this work. For interiors, the role was shared between myself and the DoP. I guess it all depends on how much interaction you are going to be doing with your actors, and, of course, how many cameras you have on set. For some shots, there is no replacing a good cameraman.

GAFFERS

The DoP may require someone to help them set the lights up, and move things around for them. The Gaffer will normally do things like gaffer-tape blackout card to windows and clip gels to lights. On my set this role was always filled by someone else. Either I would do it, or the sound recordist or another producer would step in. I enjoy working in small teams where everyone is busy and energised.

DRIVERS

If you are going to be transporting a lot of crew and equipment about, always make sure you have a car or two! On my film, this role was filled by either actors, producers or friends.

MAKE-UP

Remember that it is a good idea for all actors to wear a base, even if they are not going to have any fake blood, etc. Otherwise they will appear hideos under the powerful lighting. If there is going to be no special make-up, learn how to apply base yourself.

STILLS PHOTOGRAPHER

Some directors do this themselves. These guys get good behind the scenes photographs as well as production photographs. The production photographs are to be used in the press pack for your film, so normally the actors pose after the action for these and pretend they are still in action.

PRODUCTION ASSISTANT

Person who claps the clapperboard and does general work that needs doing - a real workhorse. Gaffer can do this too!

THE ULTIMATE SKELETON CREW

Ultimately, I have found the smallest crew that you can shoot with is:

• Director
• DoP experienced in camera operation
• Sound Recordist
• Gaffer
• PA

When the film is at a rough-cut stage, you will need to recruit the services of the following crew. I recommend recruiting them as early as possible - i.e. in the pre-production phase:

• Sound Design and Foley
• Composer

Some sound recordists do the whole lot! Most composers on shootingpeople.org will work in exchange for a credit.

You could shoot without a crew like Robert Rodriguez did when he made El Mariachi, but digital is less forgiving than film. It's possible: move the lights around yourself until it looks good. Record the sound and dialogue afterwards using the camcorder sound as a guide-track. Shane Carruth (Winner of Grand Jury Prize at Sundance 2004 for PRIMER) taught himself how to DoP out of books and trial and error. yep, it's definitely possible, but a big, big risk.

Apparently you are supposed to have someone on set who has a recognised qualification in Health and Safety up to a certain level (which may vary from country to country). It's up to you what you do here. I know I wouldn't want to abandon, or postpone my film just because I couldn't get someone of that description to be on set every day. Would you? I find common sense prevails in certain situations where following some 'rule' is the status quo.