When working in film and video production the same balancing acts take place on every job. Treatment vs Filming Budget. Quality vs Cost. Quantity vs Time.
We all want the most out of our client’s filming budget but how do you really achieve it? We had an exciting (open) brief from a “great” (trusting) client of ours, Belron International.
They had a message about evolving technology in cars and how they were adapting their business to accommodate that change.
The client picked the treatment they liked from our suggestions and that familiar game had begun! Ambition meets reality. The 5 points below are my thoughts on how our team manages to get value out of every penny a client spends. Hope it proves useful when making sure you’ve covered every angle in your upcoming production!
It sounds obvious but preparation can mean a lot of different things (and it’s important to take a moment to assess what’s right for your project).
Script, shooting schedule, recces, all things every project should have in place. Our real dilemma for this project… “Rig day or no rig day?”
In an attempt to juxtapose the technology we were discussing and create some added drama, we found a real dilapidated Warehouse location to shoot in. We knew we could afford 2 days in Production, our options were…
a) Have 2 shooting days with lighting set ups and rigging happening throughout?
b) Have a rig day with a skeleton crew, then a day of dedicated filming with quicker shot turnaround.
We went with the latter which was the right call for us. Rigging a lighting set up for a car, blacking out the space and live projections were time consuming to set up. What does you’re project need?
The importance of this differs depending on the project. Is your film mainly Voice Over driven? If so, it’s probably easier to accommodate last minute alterations.
Ours was a Presenter led piece so having the script nailed down was a must. It allows your presenter to really prepare while increasing productivity on shoot days (those are the expensive ones with all the people).
No matter how prepared you are or if your scripts are signed off last minute changes could happen. If they do, you’d better hope your actor/presenter is up to the task (and Jonathon was!).
Flexibility is important when achieving the best bang for your buck! As a Director, I like to get as much of the effect work as possible in Camera. It’s just the way I like to work and I think the results are always better. Sometimes it’s impossible (Sorry kids, the Millennium Falcon isn’t real) and sometimes it just isn’t cost effective.
When we put this concept together I was adamant about achieving all projections on set. Once we investigated options it quickly became apparent that this was the expensive route and we weren’t going to get the quality of result we wanted.
After investigating post production alternatives, we found a good method and a talented compositor… The results speak for themselves.
So ask yourself, are practical effects going to get you the best quality for the cost? Will a post-production option cost you less and achieve the high quality you need?
Sure! We’d all like to shoot every job on an F65 or IMAX from a Helicopter but let’s face it… That’s going to cost you some dough and probably isn’t necessary.
Ask yourself the following:
a) Where’s it being shown? If it’s only ever going to be in a web browser, is there a reason you’re trying to shoot it on something features are shot on?
b) Will the audience appreciate (or even notice) the difference between the cheap option and the expensive one?
c) Will a cheaper format give you a comparable quality?
d) Is there a more economical option for additional kit? (Do you need that steadi-cam or will a Ronin do? Is the height that crane gives you necessary, or will a Jib… Or even a pole-cam get the move at a fraction of the time / cost?)
We shot this on a Sony F5. It gave us the quality we needed and it was also the camera body my DOP owned, which brings me to the most important point…
As anyone in our industry knows, when you’re going on a shoot… you’re going to war! And you need to trust the men and women you’re going with.
If you’re shooting anything, (especially anything ambitious) the days might run long, stuff might go wrong. You need to know that people can and will continue to perform at the top of their game, as long as you need them to.
It’s no good stretching a budget to find that all the footage from hours 14 – 16 of the shooting day are unusable. All the great crew that helped with this project deserve their bow, so they are all credited at the bottom of the blog!
So, After a few pointers on getting value for money, here’s the end product, the inspiration for the above! Enjoy.
To see more of our video projects that we’ve created from TV Ads to brand films visit our video page.
Get in touch with us today to see what we can do for you.
Jonathon Sutton – Presenter
Darren Suffolk – Director / Producer
Ryan Moore – Assistant Director / Producer
Matthew Glen – DOP / Cameraman
Sam Irwin – Camera Assist
Andy Kirk – Sound Recordist
Benjamin Skyrme – Gaffer
Robin Patterson – Spark
Guy Linton – Jib Operator
David Harriman – Runner
Dan Griffiths – Projectionist
Ed Crofts – Editor / Grade
Ben Young – Compositing / Graphic Design
Oscar Liddiard – Composer