I write a lot about no-budget filmmaking, but usually from a directing and producing perspective.
Today I want to unravel the no-budget world simply cinematography – This is crucial to the success of any DIY production.
If there’s one problem with ultra-low/no-budget shorts and features, it’s poor camerawork.
Either the filmmakers chose a look that was too ambitious to pull off, or they relied on gear rather than technique, or they didn’t understand how to maximize their aesthetic within the constraints of the production.
In most cases, the problem stems from trying to replicate a high-budget look or on-site workflow but not having the resources to make it happen.
Like no-budget production, capturing strong visuals on a DIY level requires completely reinventing the process.
You can only maximize results by breaking many of the rules and treating it as a new, completely different art form.
Here are some things to consider when shooting a no-budget film from this perspective:
No-budget film shoot: Camera selection
On higher budget productions, camera choice is all about aesthetics and, to a lesser extent, practicality. If the director or DP decides to shoot Sony Venice for whatever reason, then that will be decided and the crew/support team will be built around it.
With DIY production, the opposite is true.
The only thing that really matters is how well the camera’s capabilities suit your specific needs. While the Alexa SXT offers stunning visual quality, it’s useless for guerilla run-and-gun productions.
Many low budget features suffer from choosing a camera they think is great because that’s what “real movies” are shot on. You end up with less original material, less coverage, and less ability to experiment.
camera Operation process
In a true no-budget production, the crew is very small. Sometimes (like on my last feature film) the crew isn’t even there. This dynamic requires a completely different workflow on set.
Focus pulling is often replaced by creative blocking, which allows actors to move in and out of the frame. A tripod can be used for each shot so that the director can operate and direct the actors at the same time.
Alternatively, the camera can be used exclusively handheld without any gear, making it easier to work in a live environment without drawing attention to yourself.
No two DIY projects have the same needs, but the goals should always be the same:
Choose cameras and workflows that prioritize coverage.
Quality comes from quantity. The idea is to capture as much diversity as possible on set, which will inevitably benefit the production value. This is only possible if the workflow is designed with this goal in mind.
light For no-budget film shoots
If there’s one area where “less is more” in no-budget production, it’s in the lighting department.
As I’ve written in the past, I shot my last feature entirely using natural and available light, which was arguably the best decision I made throughout the entire process.
By minimizing lighting, production crews can significantly reduce downtime on set. Sometimes this can add up to 3 to 4 hours to the day.
This added time is inevitably used to cover more angles, get better performances, and ultimately tell a better story.
That’s not to say that using traditional cinema lights is a bad idea. But they should be used with great caution.
If a single softbox or LED panel is enough to shape the light in a given scene, then they should be used. Setting up more gear just to make BTS photos look more impressive is always a recipe for disaster.
lens About no-budget production
Similar to lighting, simplicity is key when choosing lenses on a no-budget production.
I really enjoyed shooting my last film entirely on 50mm because it eliminated the need to change lenses, test lenses, or make decisions about focal length changes on set.
Again, not all productions need to be that extreme. But even if you limit your lens kit to 2 – 3 lenses (or a single zoom lens), almost any DIY short or feature will benefit.
A specific lens needs to be chosen based on its practicality and functionality, not just its optical qualities.
This often results in rigging decisions that are the exact opposite of what would be expected on a high-budget production. Just like using autofocus lenses or digital SLR camera glass, they can improve production value rather than just aesthetics.
Location and production design
Great photography and great production design go hand in hand at any budget level. But this is especially true for no-budget projects.
Without the ability to precisely shape light, or relying on a camera/lens combo to do the heavy lifting, most of the production value will come from the shooting environment.
This makes choosing the best location a key factor in increasing the production value of such a film.
A movie shot entirely during prime time in a remote seaside location will look great whether shot with Alexa or an iPhone. But a movie shot entirely in a drab basement with all-white walls would look terrible, no matter what camera it was shot with.
Too many DIY productions choose poor locations, or omit production design in favor of other, less important things (like another lens rental).
To understand cinematography at the no-budget level, it’s important to understand the importance of dynamic environments. Choosing a location with built-in production design, or having a production designer on your team, always enhances the visuals more than any rig can.
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