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Delegating with Producers for Crew and Gear


Nelson JJ Flores

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Hi everyone, I'm trying to get insight as to how everyone approaches producers in terms of budget to get gear. I know for many people we're dealt with low budget projects. So how does everyone negotiate with producers to get the necessary items required for a shoot. As well as fighting for certain crew members. 

I've met with producers who would consider just two key positions and would leave it at that. I know there will be some back and forth but I'm looking to see if anyone has had success with a certain method. If not, I'm open to seeing people's individual method of approach so I could have some insight as to what I can do whenever the matter of budget pops up.

Thanks!

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I don't think there is a set method that works. It's also important to be realistic - nothing worse than films that spend 50% of the budget on film stock or fancy lenses leaving nothing for cast, art and costume.

Personally I would ask up front about the films actual budget, producers may be coy about this. But it's better to have an honest conversation about cash up front. Of course producers might low ball you etc.. but the good ones should have a fair figure in mind

Then you can, be realistic in your resource requests and no waste as much time. Depending on the project it's probably realistic to spend maybe 10- 20% of the total budget on the camera dept (including kit hire, personnel etc...)  So if you know what the producers can actually afford, then you know what's realistic and can make a judgement about pushing for more when really needed. 

It really depends on the production, you will have examples of well funded productions where the producers want to cut further corners in the camera dept because they profit from spending as little as possible. And, you will encounter passion projects where there is barely enough money to cover the basics.

Going into the project you need to know which of those types of projects it is - some projects you should push for more stuff and others you have to (creatively) make do with what they have. 

 

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The simple way of putting it is you need to be true salesman, sell them on how extra money towards the camera/lighting department will significantly improve the overall quality of the project. Realistically, the most common thing you have to deal with at early stages is the producer just not having money in general.

Knowledge is power. If you can go on and on about other things where money saved the project (while making it entertaining to hear) then you'll have a better chance of getting what you want. I have no idea how anyone quiet could make it any business.

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Crew can cost more then equipment hire. Getting the number/experience of crew right will typically have the biggest impact on the production. 

Losing time because there's not enough people to do a unit move/rig or fluffed take due to less experienced ops - can push a shoot into overtime easily.  

 

 

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As a DP, you're well within your responsibilities to ask what the budgets are for camera rentals, grip rentals, electric rentals, and crew budget.

Numbers are numbers and if they don't have enough set aside for you to perform well as a DP, then it's up to you to express concerns over the look. At this point it's managing the expectations of the producer(s) and director. If they want a bigger budget look, then tell them you need x, y, and z.

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