DV or Film? Don’t let cost be a deciding factor (Part 1)
by A.J. Wedding
This month’s Feature Article is the first of a 3-part series
exploring the tips A.J. Wedding put into practice in order to
make his 35mm short for the same cost as DV. The series is
divided into pre-production, production, and post production.
This month’s article is “DV or Film? Don’t let cost be a
deciding factor.”
A director with a great project shouldn’t be limited in his
choice of formats because of budget…and you don’t have to be.
This feature story will discuss several ways you can shoot on
film for the same budget as DV, and remain true to your vision.
Having just directed my first 35mm short film, I have recently
put these tips to the test. My original plan was to shoot on
DV, but in my heart was the dream of film…a dream that was
not as far off as I thought…
When I finished the script that I planned to make, I started
looking into the ways I could make the project look like it was
shot on film. I researched cameras like the Panasonic DVX-100,
I looked at video lighting tips, and learned sandbagging tricks
that make your camera moves feel heavier and more film-like.
(Which we can discuss in another article!) The thought of
actually shooting on film never crossed my mind, as I simply
assumed it was out of my reach. But I believed very strongly
in this project, and knew that it’s true medium was film…even
if it meant I had to sell my first-born.
With a passionate plea, I finally convinced my co-producer Bill
Ross to help me look into the cost of shooting on film. Our
findings were absolutely shocking. There was a way. There were
actually several possibilities available, and none required the
sale of my yet-to-be-conceived child.
First off, let’s talk equipment. There are many people that
purchase camera packages for their own projects, and are happy
to let you use them for a few hundred bucks. This can be a
great deal, since $100 looks pretty good to someone who would
otherwise let their camera sit on a shelf. And normally,
people who own cameras can also operate them, and might want to
work with you for free if they believe in your project.
Camera rental houses have their set prices, but they are always
willing to deal with rising artists. They know that if they
treat you well while you are struggling, they will benefit when
you hit the big times. In my case, Panavision was the hero
that gave me the best deal in town. Free.
Big houses like Panavision have “experimental filmmaker”
programs which allow you to get on a waiting list for use of
free equipment. The list can be quite long, but they will
notify you with enough time to get your production up and
running. I suggest calling right now and getting on the list.
If you aren’t ready when they call, they will offer you the
next available slot.
If you can’t wait for the list to come around, you can always
get a DP with a relationship to a rental house. When they call
and plead about how good your script is, you are guaranteed a
better deal, if not a free package.
Another possibility is to look into the 8mm format which has
gained so much popularity in the anti-digital community. The
quality of the film makes for an interesting style, something
that could work well with a dramatic piece. And the price is
actually less than most digital camera rentals.
If you do use a rental house, they will want proof of
production insurance before they let you use their equipment,
whether you are paying for it or not. You can call around to
find the best rate, just make sure you have the amount of
coverage that the rental house requires. One interesting way
to get inexpensive insurance is to sub-lease it…
Online communities like www.craigslist.org are great places to
find crew, people with equipment, and production companies with
long-term insurance. Often times, a production company will
purchase long term insurance to cover several projects
throughout the year, but have down times that they still have
to pay for. These companies sometimes look for small
productions that can sub-lease their insurance…and since
they’ve already paid for it, the deal you get is as good as
your finagling skills.
Now on to film stock. Everyone has heard of places like Dr Raw
Stock and Short Enz, who sell re-cans and unused studio film
that has been bought up by these companies at a great low rate.
There are other alternatives. Along the same line as
Panavision’s experimental film maker program is that of Kodak.
The prices are about the same as re-cans, but you are getting
brand new film. If you aren’t a part of any film artist
networks, you should look into them. Getting together with
other film makers and discussing the tips and tricks that they
use is the best resource you will ever have. Often times, you
will find a friend amongst your group that will give you their
leftover film, or sell it to you for less than you can purchase
it anywhere. Just make sure you take it to a lab and get it
snip-tested to ensure it is usable.
Once again, I found an ally in Fuji. They are struggling to
survive with the development of digital movie making, and being
in the wake of Kodak who owns the corner on the market. Many
film makers will tell you that Kodak has far better color, but
that is simply untrue. We tested a 500ASA Kodak against the
Fujifilm rival, and were astounded at the difference in
quality. Fujifilm makes a fantastic product, and will do
whatever they can to meet your budgetary needs. We were able to
get the film half-off, by buying 2000 ft rolls, used in special
sitcom cameras. The film is rarely ever purchased, so Fuji has
a lot of it sitting around. All you have to do is go and have
it cut to fit your camera magazines, for about $3 per cut.
The studios always order more film than they need, and then
sell off the excess every few months. If you are a part of a
film artist network, you might want to pool your money and put
in a bid for the studio’s leftovers. That can be a great deal
for everyone involved.
The decision you need to make is this: Is film what you REALLY
want? In many cases, such as the television pilot I co-wrote
and directed, digital was the way to go. But use it because it
looks right for your project. “Blair Witch” wouldn’t have
worked if it was shot on film. Just be true to your vision.
Don’t compromise on issues of format because it looks
impossible on paper. Use your passion for your project as a
catalyst for allies. Everyone wants to work with someone who
has a strong creative vision and a deserving project.
Next month we’ll look at ways you can save money during the
production phase, in part two of this three part series.
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A.J. Wedding is a writer/director who recently completed his
first 35mm short film that hopes to premiere at the Sundance
Film Festival. His past writing and directing work includes a
back-door TV pilot called “OB-1” and a mock-umentary digital
feature titled “Pop-Fiction”, which won an honorable mention at
the Canadian International Film Festival.
http://www.wavebreaking.com
http://www.ajwedding.com/
mailto:ajwedding@wavebreaking.com
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Copyright (c) 2004 Peter D. Marshall / All Rights Reserved
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