Burble, Burble, Crew, Burble

[fangrrl_squees]

Since I mentioned it, and all. Here are the crew positions I've identified for the fan film.

Of course, I won't be scheduling anything until the locations and casting is sorted (feel free to make suggestions/volunteer for either, I need an Eight, a Lucie and a middle-aged female physicist. I also might be in need of a lab-type place, depending on what can be managed via Popster's wife - which might not be much, as it turns out)

Constraints: shooting on home DV cam (at least it's a 3-chip camera) unless I can find a way to borrow (not rent, can't afford it) a prosumer-level DV cam.

Director of Photography & Camera Operator - lights, camera, your problem. ;) As mentioned elsewhere, though, I'm working on a complete shot breakdown and storyboard, which should help a lot. None of this framing-on-the-fly stuff, no sir.

Wardrobe (including makeup and hair) - 1 or 2 folks. I think I know some people who are already interested, but they've not officially told me, yet. ;)

Continuity/Script Supe - someone has been suggested, but I've got to ask her if she's interested!

General set PA - mostly the job involves preventing me from commiting homicide before and during shooting

Transport - Sad fact is, I don't drive and I don't have wheels. Ideally, you've got a truck or minivan with which to. I'll pay for your gas, of course. (I might need you for 1 - 2 days scouting pre-production, 'kay?) strollerman, I don't suppose you'd be interested?

A pal has volunteered to help with art direction/props and I've another not-quite-locked-down-but-close person interested in handling sound, both in production and after. The sound person might also help me out with storyboards, as she's looking for opportunities to practice.

I suppose I'm directing this pig, but I've not yet decided if an AD would have much to do, aside from assisting the PA when it comes to stopping me from committing murder or seppuku...

As is usual in these things, I can't pay you, but I will feed you and give lavish credit.

VERY tentative shooting schedule: June/July and early August.

If I get lucky with the indoor location, we might be able to do this in four full-length (ie 10+ hours) days, five at most.

If I'm not lucky with the indoor location and we have to shoot that scene in 4 - 5 hour chunks, the schedule will be mangled, accordingly.

All shooting to occur on the weekends, natch.

Comments

[jblum.livejournal.com]

FWIW, you might want to have your continuity person take care of general First-AD duties --they're already the one who has to be thinking about the next and previous shots while you're focused on the current one, so they might as well maintain the shotlist and track best takes while they're at it. That's the way we handled it on "Bad Reception", and I seem to have managed without a breakdown. More generally? Having a 1st who knows their shit is probably *the* best way to avoid the temptation towards seppuku. They allow you to panic about one thing at a time.

You might want someone who's directly responsible for lighting, even if just on the grip/gaffer level following the DOP's orders. Doing Camera/DOP *and* lighting without an assistant is a pretty big ask. That might be more valuable than a general PA. (If you've got Wardrobe people, on a fan-sized project with a small cast, they're likely to have enough downtime to do PA stuff anyway!)

FWIW, on Bad Reception we had four actors (including the producer) and four crew (Director, Camera/DOP, 1st AD, and one guy doubling on lighting and sound)... all crammed into a one-car garage doubling for a crypt. And that worked surprisingly smoothly...

[fangrrl-squees.livejournal.com]

FWIW, I figured I'd gaff. I've done a reasonable amount of it in my time and we're really only going to need such (or will be able to use 'em, I should say) on the one interior set we've got. Exteriors, it's going to be idlers and bounce cards all the way, as there'll be NO way to set up portable fill light, unfortunately (funny, the cops don't like guerrilla film makers on Union Square - especially if they bring a genny and lights!)

re: continuity/AD, fair point, but that's assuming the proposed (yet to be approached) continuity person wants to touch that. If she does, fab. If not *grin/shrug* I'll split the job.

As I said elsewhere on the thread, I'm flexible. :)

[jblum.livejournal.com]

Well, if you can manage, that's cool -- I've just tended to find that doing a lot of the low-level gaffing etc while directing means that your brain can get crammed full of little things when you need to keep your mind on the big things...

(And good luck with Union Square. When we shot outside the Pentagon, we had permission, but that still didn't stop the cops from zooming up...)

[britgeekgrrl.livejournal.com]

With Union Square, I'm torn between feelings of optimism and worry.

The film permit process in this city is fucked up beyond words, so I don't want to try it. Besides, I'm very small fry. If I behave and don't attract (too much) attention, I *should* be okay.

I might have to provide coffee and donuts to all the transients napping on the square in the early morning (when I intende to shoot) but that's okay. If they agree not to hassle my crew for money whilst we're working, I'll give 'em all the coffee and donuts they want...