Budding filmmakers often ask me how to effectively shoot a film with a skeleton crew. For those who don’t know the term, a “skeleton crew” refers to a film crew that has been stripped down to its most essential crew members, usually to save on production costs or to be less visible when filming without permission. striking.
While many of the shoots I’ve directed and produced have been with very small teams, there’s no set formula for assembling a team of this size. The reason is that different movies have completely different requirements. For example, if you’re shooting a short film that consists mostly of voiceovers, and there’s little or no dialogue recorded on set, you’d certainly be better off not bringing in a field sound recordist, but instead using someone else who would otherwise add to your production. More value. Conversely, you may be shooting a feature film with lots of exteriors and very little setup time, in which case a good sound recordist is your best friend. The bottom line is, there is no right or wrong way to do this. In fact, there is no definite answer as to how big the “key personnel” will be. By some definitions, it can be as few as 2 to 3 people. Or by other definitions, it could be as large as 12 – 15.
For the purposes of this article, I will consider the core staff to be 5 people. On any of my independent films we have to shoot with a very small crew, usually 5 people on set every day. Some behind-the-scenes days might only be 2-3 people, some pro days might be closer to 12 or so, but generally a crew of 5 seems to be my sweet spot on a really simple production. Below, I’ll outline what crew you must have when working with such small quantities and explain why they are on the list. Keep in mind that this list does not include directors or producers, as both are on set every day. As I mentioned above, there’s no right or wrong way to do this… this is a general framework that will work for most scenarios, but if you have a more unique set of requirements for your film, some of these May not be directly applicable to your production.
Here are the crew members, in no particular order:
photography director
There is no denying that this is one of the most important positions in any production. Having a DP who understands your vision means you can spend more time directing your actors and less time worrying about lights and sets. Having said that, many directors (myself included) like to shoot their own material. I don’t always do this myself, but there are situations where I choose to do it. But I must say, if you are not sure of your skills as a DP, you should not risk doing photography on your own. I try to do that as much as possible, but I also have a strong background in cinematography and have worked on a lot of projects. DPing your own work can quickly work against you, as you can waste time trying to deal with occlusion and camera settings in a completely inefficient way. So unless you have an extremely strong background in the camera department, make sure you have a good DP who can work closely with you to bring your vision to the screen while making days on set go by faster and faster. More efficient. If you decide to shoot your own for whatever reason, choose the best first AC you can find.
Makeup/Hair
It shows when many independent productions are stingy in this regard. Aside from terrible audio, one of the biggest perks of no-budget production is terrible makeup, or in some cases no makeup at all. A good makeup artist will not only do a top-notch job creatively, but they will also be diligent in remembering and photographing specific looks to allow for continuity and ensure a consistent look throughout the entire production. The value of having a great makeup artist goes far beyond simply making an actor look better (or in some cases worse). It’s important for an actor to feel their best and feel the character as much as possible. The right makeup can add a level of professionalism that all independent films should have. It gives actors the respect they deserve because they know they will look perfect for the scene in front of the camera. Whatever you do, please don’t let your talent do your own makeup. It’s tempting, especially since your actress may do their own makeup, but they’re not a professional makeup artist. They may be able to make themselves look beautiful, but they don’t know how to do your makeup for your movie, and if they do your own makeup it may not fit your scene/mood and it may be very inconsistent throughout the production.
production assistant
With a skeleton crew, everyone on the set wears multiple hats, and all crew members (including the director) are required to undertake occasional PA duties throughout the production. That being said, it’s still crucial to have a dedicated PA person on set to ensure everything runs smoothly. While everyone on set should be willing to fill in when needed and serve as a PA when needed, sometimes you just don’t have enough hours in the day and you really don’t want to ask your makeup artist or DP to start moving gear, especially When you know your next shot is coming and the daylight is running out. Personally, the most important thing about PA is to have a good attitude. PAs are often still in the learning phase of their careers, so on an independent set the best thing you can do is find someone who is willing to learn, has a passion for film, and can bring a positive attitude to the set.
Positioning information
Your field sound engineer is one of the most important people on set. As mentioned before, one of the biggest mistakes indie productions make is skimping on the sound department. People say time and time again that sound is 50% of a movie, but I think it’s even more. Perfect sound plus bad visuals will always look more polished and professional than perfect visuals and bad sound. It really depends on the psychology of how we as people perceive what we’re watching…but importantly, good sound is vital to the overall success of a movie. Again, you’re not just looking for a sound engineer with the right gear or at a price that fits your budget, you’re looking for someone who’s right for your production. For example, if you’re primarily doing guerilla shooting on the streets, you’re going to want someone who has done this kind of work before. Someone who knows how to play it safe will hide the bathroom and take the mixer out of the backpack. Or if you’re shooting six actors in a scene, you need someone who can handle such a complex scene and have the knowledge and skills to make it work. Ultimately, this person should care more about the sound than you do and should do everything they can to make it sound perfect.
Gaffer / Grip
Even if you’re just using practical lights, some C-stands, and a few flags, a skilled gaffer/supervisor will do wonders for your production. Filling this position with someone who is responsive, knowledgeable, and skilled can save you a ton of time on set. This is another position that independent filmmakers don’t always pay enough attention to, and hopefully the DP will pick up the slack… but the question is – can your DP be operating the camera while also serving as DP/Lighting division? sure. But that means they have less time to do what they should be doing and more time setting up lights and gear themselves. In many cases, this can mean longer days or missed shots. From a creative perspective, a talented gaffer/director will help your DP focus their ideas more clearly and effectively to get the most out of their shots.
Honorable mention
The above positions are by no means the only five that need to be filled on a small team. In some cases, you may need more or fewer crew members, or you may need to replace one crew member with another. Two equally important positions that didn’t make my list are: Production Designer and Script Supervisor. A great art director can do wonders and make your project look like a million bucks, even if you have a very low budget. Since many independent films adopt a guerrilla style and use lots of locations, I didn’t include this location in the list above, but depending on your production, it may be one of the most important locations to address.
Having a talented script supervisor on set can also be a lifesaver, especially if your movie lasts many days and you have a lot of continuity to keep track of – costumes, makeup, props, etc. This is included in the list because many indie productions are so small that they aren’t as demanding in this area, but if you do feel you need a script supervisor, don’t overlook this department. They can save you a lot of time in the long run by not having to stop before each scene and double-check your daily tasks to make sure everything is consistent.
generalize
There’s no exact formula for building the perfect backbone team, but the key is to cover all the bases. No matter what, you’ll always need help from the photography, audio, and makeup departments, and you’re certainly better off finding dedicated staff to handle all of these tasks. Don’t forget to have a great PA (or two), as they are the lifeblood of the project and will make it run more efficiently. Of course, you can also customize your team according to your project needs. If you need a production designer, script supervisor, or any other relevant staff (visual effects supervisor, stunt people, etc.), make sure you have the people you need on set. Most importantly, no matter what crew position you hold, make sure everyone on board is as passionate about your project as you are.
For some additional reading on shooting in this environment, be sure to check out my recent post – “10 Tips for Shooting with Available Light” Because it does apply to a lot of productions that use a skeleton crew.
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