THE MUSE #101
In this edition: Let’s talk about indie budgets (part II)! Check out these tips for efficient pricing and saving money.
Newsworthy & Opinions
“We are no longer post; we’re previsualization,” says VP Vincent Cirelli at Luma Pictures. Here’s how the VFX studio used a kiddie pool and motion capture for “Groot Takes a Bath” episode.
Culture writer David Sims says “Hollywood learned all the wrong lessons” about 3-D technology and original IP from James James Cameron’s 3-D Epic, Avatar.
Let’s Talk About Indie Budgets: Part II
Tips for Pricing, Saving Money, and Trimming Your Budget
by Saralyn Armer, Nine Muses Production Executive
Welcome back to Production Muse, a space for getting creative about the business of entertainment. Every month, Nine Muses Production Executive Saralyn Armer shares practical advice for “making it” as a multi-hyphenate artist in the industry and essentials for navigating a career in the arts.
As we continue talking about indie filmmaking budgets, let’s get into figuring out how much each of your line items will cost!
You’ve done a breakdown of your script and can see on paper (or your screen) all the little pieces you will need when you move into production. Cast and Crew, check! Camera gear, check! Props, check! But how much do they cost?
You really can’t create an accurate budget unless you know what the going rate is, so it’s time to do some research. Becoming a big fan of comparative shopping and getting a range of quotes will only help you make the best decision for your project. And learning where and how to save some cash and make cuts is essential!
How do you figure out rates for collaborators?
If you want to have SAG-AFTRA actors, the first thing you do is decide which SAG-AFTRA contract you should be under, and this can help you figure out what type of budget you should aim for. Check out the Production Center at SAG-AFTRA for a list of their contracts. Under New Media Contracts you can get a sense of what it will cost to hire actors (or to defer payment).
For example, a micro-budget short film (the budget will be < $20,000) could start out at $100-$200 per day to pay for the cast and crew. This is not a deferred payment as I strongly believe in paying all cast and crew something!
When it comes to your crew, it’s a no-brainer to bring aboard more experienced filmmakers — people who know what they are doing and who you won’t need to micromanage (and not to mention, you might be about to learn a thing or two from them!). But there is something to be said about working with other newcomers. For one, they are just as eager as you and they are also looking to gain experience and build their resumes. Plus, they might be more willing to volunteer their time or work for the low budget rate.
How do you figure out the best rates for gear?
First step is to search for local equipment rental houses to get a price list. Even if you don’t know yet what kind of gear you should rent (your director of photography/ DP can help with that), get a sense of what range a few houses fall in for camera gear, G&E (grip and electric aka lights) and sound packages. Does your budget for camera gear need to be $1000-$1500 per day or can you get a package for $500 per day? Finding out what’s included in the packages will help for comparison. (This step also applies to prop and costume houses.)
TIP #1: Once you have the price list, check the daily, weekly, and weekend rates. Daily rates are usually higher than weekly rates, but most rental houses have cheaper weekend rates (with pick up on Friday and drop off on Monday morning). The savings between these options could be worth shifting your shooting schedule to the weekend or breaking up the shoot over a couple weekends.
TIP #2: If big rental houses are still too expensive, ask your collaborators! There are usually filmmakers out there that own gear and will rent it out on the weekend and/ or when they aren’t using it. So ask around, post on filmmaker social media group pages for recommendations or look for smaller rental houses. Or maybe your crew has a connection that can bring in some discounts as well. My motto: It never hurts to ask.
TIP #3: Package the filmmaker with their gear. Another seemingly obvious option could be asking your DP if they own their own gear — and that way you can work out a package deal. Let’s say you budgeted $700 for camera gear and your DP, who has equipment, agreed to $200/day. In that instance, you can pay your DP $200/day and offer to rent their gear for $500/day. It’s a win-win: your DP is able to use gear they are super familiar with, they make a rental fee, and you save a few hundo on your budget.
Looking to save some moolah?
Know the value of friends and favors. An easy way to save some cash off the bat is to take a look at your network and what you already have access to. Who can you ask a favor from? Does your aunt's neighbor have a farm you could use for a location? Does your grandparent have an attic full of possible props or costumes?
When I was prepping for Pant Suits, which is set in the 1970s, I had my entire family looking in their attics to send me possible props and clothes from that era. I went to thrift stores looking for vintage pant suits and even had my mother-in-law knitting hero hats! It was a HUGE savings not renting period costumes or a ton of props. Also, the locations we rented had props and furniture available, so take a look around when you’re scouting to see what might be included in the rental package.
And if you are aiming to sell your film on the market later, count the in-kind favors and donations in your budget — just because you are getting something for a discount rate or free doesn’t mean it loses its value!
Another way to save is to apply for grants. There are loads of filmmaker grants out there but it does take time to apply and for the grants to be announced, so factor that time in. And as you are waiting to hear, budget as if those fees are coming out of your pocket, so if/ when you are awarded the grant, it’s a significant amount saved. Ideas for where to look:
FilmDaily.TV has a list of 2022 Short Film Grants you can apply for once you figure out which ones fit you and your project.
Sundance Collab updates their site weekly for upcoming film and media grants, labs, contests, and fellowships.
Desktop Documentaries is a great resource, listing places to search for grants as well as a list of Documentary Film Grants for Independent Filmmakers.
The Film Fund gives a nice breakdown of what grants are, where to find film grants and how to apply.
Similar to the in-kind favors, if you get a grant for a camera package or a free/ discounted location, don’t forget to include what that amount is in your budget. This way you have a real sense of what your budget would have been if you paid out of pocket for that.
Sneaky ways to make cuts…
As the producer, you come up with the initial budget for each department. Then you work with the Department Heads on their budgets. In that process with the Department Heads, have them price out their gear. If they feel their budget is stretched, which will likely happen, hear their needs, their wants and their concerns. Then you need to decide if there is any wiggle room that can be made. Talk with your director. Do you really need a dolly and a circle track and a steadicam? What is the aesthetic you are going for and is there a way you can consolidate or combine shots to cut down on specialty gear and time?
Here are a few other ways to keep in the back of your mind as your production looms and your budget starts to balloon.
TIP #4: Go back to the script with the writer and director. Can you condense the page count? Really look at what you need to tell the story.
TIP #5: Utilize each location and cut down on any company moves. Is there a hallway, staircase, front porch, bathroom that could work for a scene? Can you move a scene that was originally set in a dining room into a kitchen or a pantry? Could the location change make the scene more interesting or unique?
TIP #6a: Look at how many day vs. night scenes you have. Shooting nights is sometimes necessary but you should know that around 2am, everybody slows down so you likely won’t get as much accomplished. Try to avoid long setups in the middle of the night as well. Do you really need that circle track? An already tired crew and your schedule will feel that.
TIP #6b: Additionally, don’t shoot “day for night” if you can help it. It’s time consuming and can be a massive headache. StudioBinder and IndieWire both have helpful articles explaining what “day for night” is and how to do it: How to Shoot Day for Night — Tips & Techniques Explained and 5 Easy Tips for Achieving Day for Night.
TIP #6c: Keep in mind which season you’re shooting in. Is everything set in the “DAY” but you’re shooting in the middle of winter? You won’t get as many daylight hours which can put a crunch on your day and it will take time for your G&E department to match any light you lose as the sun sets. Take a look at your script and the time of year you are planning to shoot. It could help save you time, money and energy to consider switching up the time of day a scene takes place.
TIP #7: Build in a buffer. Overestimating a smidge in your budget can help free up unexpected money and won’t put you in a pickle if it ends up costing you more because you need an extra day or something. When I was budgeting for Pant Suits I needed a car from the 1950s. Renting picture cars can get expensive, but a neighbor of mine had one. I had budgeted $500 for the car but hoping not to spend that, I offered $200 with drop off and pick up included. My neighbor was more than happy to rent her car to me and she made $200 bones for nearly no work involved on her part.
TIP #8: Include production insurance. For any location or equipment rental you will need a COI (Certificate of Insurance) or you will likely be charged a higher rate. So shop around. Ask for broker recommendations from trusted filmmakers — sometimes they are able to give independent filmmakers or short films a cut rate. Cold-call or email brokers for quotes. If possible, see if there’s an established production company that already has an insurance policy and is willing to bring your production under its umbrella for an “In association” credit. Could be worth an ask!
To wrap up, here’s my number one tip on what not to do when budgeting!
The most important advice I can give on what not to do is never EVER show anyone your budget. There are obviously a few except for those in your core team or if you are obligated to a studio. But never EVER EVER disclose your budget especially before you’ve made a deal, if that is the road you’re on. An easy question you’ll be asked on the festival circuit is “What was the budget?” Don’t fall for it! If you hope to sell your film and haven’t yet or are in the middle of a deal, do not disclose this very important information. It could affect what you can sell your film for. Let that ink dry first!
“My muse is the digital world.”
Newsletter run by Nia Farrell, Director of Development & Production at Nine Muses Entertainment
