The experience of your crew and cast will have a huge impact on your daily quotas, as well as access to locations. If you are shooting exteriors, then the weather and time of year will also dictate how much you can achieve.
With short filmmaking things will always take much longer than you anticipate, with plenty of unforeseen, random setbacks. Realistically accounting for the variables, set up and turnaround times should give you a schedule that will be able to accommodate most eventualities.
SCHEDULE DATES
Once you have a schedule that provides the shooting order of your film, you then need to find the actual date that you can begin. Due to short film’s low-budget nature, this is often a difficult aspect of scheduling. Ideally one might start on a given date and then shoot the film every day until it is finished, but this is often impossible. Due to the costs of hiring equipment and a cast and crew that may be working in kind, short filmmakers have to be extremely flexible when it comes to fixing dates. Weekends are generally the optimum time, as crew and cast are less likely to be working on other projects and equipment can often be hired on a Friday and returned on a Monday, providing a three-day period for a single day’s rental.
When scheduling a film on a floating basis, based around the availability of cast and crew as well as locations and equipment, it is often a good idea to have a deadline in place. Whether this is a film festival that you want to send your film to, or a self-organised premiere, deadlines will help keep the production motivated, with a fixed goal in mind.
CALL SHEETS
Once the overall shooting schedule has been locked and dates set, call sheets can then be drawn up. Call sheets give a detailed breakdown of the times, events and scenes that will be covered for a single day of the schedule. For a shoot of only a few days, it is possible to draw up just one call sheet for the entire shoot. But generally they are handed out at the end of the day’s shoot, so that any amendments, such as shots that didn’t get shot, can be transferred to the next day. The call sheet provides information for both the cast and crew, giving individual times for the actors to arrive, be in make up and then costume, before being on set for their scenes. It also provides crew with pick-up times, break times and indications of how much time has been allotted for various set ups and strikes. Similar to the overall schedule, it is important to be realistic about the time you allow for the eventualities of a call sheet, allowing enough time for people to perform their jobs properly, but not leaving people hanging around waiting for other departments. (A call sheet template can be downloaded from http://www.kamerabooks.co.uk/downloads/.)
SHOT LIST
Some short films are often easy to schedule, potentially only requiring a day of shooting in one location with minimal cast and crew; others may require shooting for a whole week or multiple weekends over several months. Each of these scenarios will require very different types of schedule, but there is a common factor: each of the shooting days needs to be broken down not only into the order in which to shoot the scenes, but also the order of the individual shots that make up those scenes.
Just like creating the daily schedule for the production, a shot list works on a similar principle: all the shots that make up the entire film need to be listed so that an order in which to shoot them can be organised. Again the aim is to produce a list of shots that gives you the most practical and efficient order in which to shoot the film.
On a storyboard you will have all the shots in the sequence that you want the finished film to occur. The first step is to number each of the shots on the storyboard in that order. Then analyse each shot and work out the shooting order. For instance, a scene involving a conversation between two people will potentially involve two different camera positions (set ups) – let’s call them position A and B – from which you will use different lenses to shoot wide, medium and close up shots. In your storyboard, the sequence of shots would run 1,2,3,4,5 etc but this might involve cutting between a wide shot from position A to a medium shot from position B, then back to A for another wide and then B for a close up, potentially shifting between different shots from A and B positions many times within a scene. Obviously to film the scene in the storyboard order would entail moving the camera every time there was a change of position, which would be both laborious and time-consuming. So instead, all the shots from a camera position A need to be shot in a block before moving on to position B. However, a shot list isn’t just a list of camera positions, the individual shots themselves need to be listed. So again you would go through the storyboard and note all the shots from position A that were wide, medium and close ups and then put those in order, perhaps starting with all the wide shots first and then moving through the rest until all the types of shot from position A have been listed; then move on to the next set up of position B and start again. This would result in a shot list that might run out of sequence, for instance 2,5,6,9,13.
The next step is to give a description of the type of shot, potentially using abbreviations. Wide shot (WS), close up (CU) etc and a brief description of the action taking place in that frame of the storyboard. So as a simple example:
SET UP A
Shot 1 A (WS) Woman sits alone at restaurant table
Shot 12 A (WS) Woman leaves envelope on table and sips drink
Shot 3 A (MS) Woman looks man up and down
Shot 7 A (MS) Woman looks down at envelope
Shot 9 A (CU) Woman nods at man
Shot 8 A (CU) Woman picks up envelope to feel the weight
SET UP B
Shot 11 B (WS) Man gets up and leaves
Shot 2 B (WS) Man enters restaurant and sits opposite her
Shot 5 B (MS) Man reaches into coat and pulls out envelope
Shot 4 B (CU) Man stares back
Shot 10 B (CU) Man nods at woman
Shot 6 B (CU) Man slides envelope across table
In the storyboard, and potentially the finished film, however, the shots would run like this.
Shot 1 A (WS) Woman sits alone at restaurant table
Shot 2 B (WS) Man enters restaurant and sits opposite her
Shot 3 A (MS) Woman looks man up and down
Shot 4 B (CU) Man stares back
Shot 5 B (MS) Man reaches into coat and pulls out envelope
Shot 6 B (CU) Man slides envelope across table
Shot 7 A (MS) Woman looks down at envelope
Shot 8 A (CU) Woman picks up envelope to feel the weight
Shot 9 A (CU) Woman nods at man
Shot 10 B (CU) Man nods at woman
Shot 11 B (WS) Man gets up and leaves
Shot 12 A (WS) Woman leaves envelope on table and sips drink
SHOT LIST TIPS
As you will have noticed from this simple example, a complex range of shots can be obtained from just two camera set ups, by using different lenses or a zoom set at different focal lengths. This then provides plenty of coverage to create a dynamically edited scene. Looking at the shot list it would potentially be possible to shoot the establishing wide shot of the woman as a master scene shot (see directing), shooting an entire run-through of the scene from that set up and type of shot, so that shots 1 and 12 were the beginning and end of one take, providing continuity in case there were any gaps in the remaining coverage. The other key point that can emerge when compiling a shot list is how crucial the camera positioning is. Limiting the amount of set ups will save crucial time when shooting various shots; minimal but well-chosen camera positions should create a scenario that makes use of lenses to move the perspective of the camera, rather than having to move the camera over and over again. Floor plans can also be hugely beneficial when combined with a storyboard and shot list. Using basic layouts of the sets or locations, it is possible to mark out where the camera would ideally be placed, giving the different set ups numbers or letters and allowing the crew to reference where the camera is going next.
BUDGET
Once you have completed your breakdowns and schedule, you can start to see all the el
ements that your film requires to be made. Whether this is time, locations, equipment, cast, crew or probably a combination of them all, you are now ready to work out how much it will all cost.
Although ‘no budget’ is an ubiquitous term within filmmaking, the unfortunate truth is that there is no such thing as a film made without a budget. ‘No budget’ really means ‘no film’, and is a term used to compare multi-million-pound feature film budgets with short film or indie feature film budgets, that are comparatively so minute they might be perceived as non-existent.
Any filmmaking, short or otherwise, is potentially extremely expensive. It may cost the same as the hairdressing budget of a Hollywood blockbuster, but that can be tens of thousands of pounds. However, it is possible to make a short film for very, very little. Borrowing equipment and only paying for tape stock means it is possible to create a perfectly executed short for under £20, it just depends on the resources available to you and the production values you want the film to have.
Whether the budget of your film requires only £100 or £10,000, it’s important that you are actually sure it can be produced for that amount. To decide this, you need to create a thorough budget, listing everything that you need and how much each item will cost.
LINE BUDGETS
Conventionally, film budgets are broken down into two types of category, above the line and below the line. Above the line costs are flat fees for the entire run of the film; conventionally, this includes directors’ and actors’ salaries as well as script rights and any other flat payments. Below the line costs include everything else: location hire, equipment hire, stock, editing time, crew hire etc.
This type of line budget is not always necessary for short filmmakers, however; often script rights, producer and director fees are non-existent and the things that really need to be budgeted for are equipment and stock.
SHORT FILM BUDGETS
With short films it’s often easier to simply break your budget into three simple sections. This allows you to keep the budget organised and see more clearly at which stages you will need certain sums of money.
Pre-Production
Production
Post-Production
TOP SHEET
Figure 15. Budget top sheet.
Film budgets of any size normally follow the same principle. Rather than consisting of a list of all the individual costs involved that could go on for pages, the costs are broken down into larger categories. These categories are listed on the top sheet of the budget, with the category costs added together to provide a grand total. These categories then have separate pages, where the individual costs that make them up are listed.
The top sheet serves two functions: it both gives an instant indication of how your film budget is balanced, and provides the page numbers where the categories can be found, allowing the individual items to be found or amended quickly.
Contingency
The important thing to bear in mind when putting a budget together is that budgets in filmmaking rarely come in less than planned. Generally films have a tendency to go over budget. Not necessarily because items have been omitted from the budget, but simply because it is difficult to remain within budget when so many variables are involved. For this reason, it’s common practice to add a contingency or miscellaneous category – generally 10% of the overall budget – which is there to cover any unforeseen events or costs that occur.
7. PRODUCTION VALUES
Production values is an expression that is used to refer to the finished look of the film, and comes from the methods and tools used to make it. In general filmmakers aim for the highest production values they can achieve on their budget. Although some films may intentionally opt for a lo-tech look because it reflects the subject matter or themes they are working with.
You will probably be familiar with feature films, music promos and commercials that have a variety of distinct or subtle visual styles that are often distinguishable from each other. All of these styles are achieved by a series of creative decisions taken over format, set design, lighting and costume; all of these contribute to the look and feel of the finished film.
Although generally governed by the film’s budget, high production values don’t necessarily have to involve huge sums of money. Spending time rather than budget on as many different visual aspects as you can, whether it’s wardrobe, art department or grading and title sequences, you can still produce a great-looking film for very little.
FUNDING
In most countries there are a variety of funding organisations and film commissioning bodies that offer funding schemes for short filmmakers to realise entire projects, complete them or fund film prints for distribution (see resources).
Private funding is often the only way that short filmmakers have to fund their films, however. Many films are entirely funded by the director and producer. Due to short films’ non-commercial nature, financially backing short films is not an investment that will guarantee returns, which often makes it difficult to find investors. Professional producers are occasionally able to find individuals or production companies willing to back short films, but this is fairly rare. The most common type of private funding for short films tends to be in-kind crew services either from crew or rental or post houses offering support through discounts.
TYPES OF FUNDING
Match funding
Match funding is the funding of a partial amount of the entire filmmaking budget. This is common in filmmaking where, due to the high costs involved, various funding bodies will offer specific amounts to make up the whole budget.
Completion funding
Completion funding is a common occurrence in short filmmaking and provides funding to films at the rough cut stage in order that post-production can be completed. Films often run over and out of budget for the final post-production stages, which can be the most expensive, but at this point, with a nearly complete version of the film, it is often possible to gain support for the project.
APPLYING FOR FUNDING
For anyone, whether an individual or funding body, to offer financial backing to a short film project, they will need to consider it worthwhile on a creative level, but also be convinced that the people involved are experienced enough to bring it to fruition.
The key here is professionalism. Presenting a well-structured and thoughtout production will be essential to securing funding. Storyboards, budgets and distribution strategies will all need to be carefully put together and presented with the same production standards and attention to detail that you would like your finished film to have.
8. CASTING
Having honed your idea into a script, you need to find the actors to play the roles. However good your idea or script is, without the right actors to bring it to life then the strengths of the material won’t be reflected in your final film.
Finding the right actors can be a long process, but one that can influence the final outcome of your film more than any other. Both your approach to directing, and the nature of your material, will dictate your approach to casting. You may have people in mind for the idea or script as you are developing it, in which case it could simply be a matter of finding the right time when they are available for your shoot. You may find that the actions of the characters are the focus of your film rather than their emotions, and decide that you can get away without professional actors.
If your film does require a cast you are more than likely going to need to go through a casting process to find the most suitable people.
CASTING PROFESSIONAL ACTORS
Casting actors with skill and experience is going to make a significant difference not only to your finished film but also to the ease with which you make it. You shouldn’t underestimate just how significant the talents of an actor can be in bringing a role to life. Even roles that require little or no dialogue to be delivered, or little obvious display of emotion, will still benefit from an actor’s ability with body language. A professional actor will not only bring
their expertise to the project, but also their professionalism. This will have a two-fold effect on your film. The actor’s ability should allow you to achieve the type of performance that you want much faster and in fewer takes. You should then be able to shoot your film faster and more efficiently while having more usable takes to edit with. All of this will of course depend on your successful direction, but selecting the right actor with enough ability for the demands of the role will strengthen that possibility.
CASTING NON-PROFESSIONAL ACTORS
When developing an idea or script for a short film, you may well be working from your own personal experience or the experiences of people that you know in which case it is inevitable that the characters involved will be directly or indirectly based on people that you know or have met. You may then want to ask them to take on the roles in your film. Straightforward as this may sound, using a friend or acquaintance to play either themself or a similar character can be complicated. They may have no problem behaving naturally in normal, day-to day situations, but could find it difficult to recreate this naturalness when acting out past events or fictional scenarios.
Because films are shot non-chronologically, scenes and individual lines of dialogue may need to be delivered back to back with others of often contrasting emotion. This can be demanding for talented professionals and may be just too much to expect from amateurs. The other major factor to consider when casting non-professionals is the stage fright factor. People may well be able to perform in front of an impromptu audience or in rehearsals, but once in front of the camera and lights, they can become overwhelmed by the pressure to perform. Of course you may be able to achieve outstanding results with amateur or novice actors, capturing a rawness that professionals would strive for, but you do need to be prepared for the time and patience this can take.
Short Films Page 5