quote:

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?i?Originally posted by SolSurvivor
- A realistic Budget for a 40-45 minute short.

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What are you paying for?

Defining a realistic budget is almost impossible. 40-45
minute shorts have been made for $50 and have been
made for six figures.

quote:

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- Main Location will be in a mall. (Is that even realistic to get permits and/or funding for)?

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It's realistic to get permits to film in a mall. It's also
realistic to get funding.

quote:

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- Equipment to use.

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You can use a camera and nothing else. You can use sound,
light and grip equipment.

This is another question that is almost impossible to answer
without much more information than you provide here. Are
you doing everything all alone? Will you be hiring a crew? Do
you need information on each piece of equipment to buy or
to rent? Do you just want a list of every piece of equipment
used on a film set? Or do you only need the basics?

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The aim of an argument or discussion should not be victory, but progress.
Joseph Joubert, essayist (1754-1824)

Be careful with your length. Most festivals put the cut off for a short at 45 minutes, but some do 30 minutes. Regardless, if you want it to be a short you'd better keep it to 44 minutes including credits.

As far as the mall goes, that really depends on a) the mall and b) your ability to sweet talk.

If you can operate without disturbing shoppers, most smaller town malls will be more than accommodating- but you give up your ability to have a closed set. You can shoot after hours, but if you want any natural light that probably isn't going to work, and you'll have to work bad hours (of course in film this isn't much of a shocker) and probably pay for the location.

Sorry about the over generalized query. Perhaps this was more suited for the Newbie section. Maybe I'd find more help if I explained exactly where we're at and what we're looking to do.

We've just completed a feature length screenplay. Initially, we were hoping to sell it. While that may still be the case, we've found that according to some other screenwriters and other sources, the best way to get noticed is to do it yourself.

Right now here's where we're at. We have a group of theater actors (post grad) that are willing to act for next to nothing. We have a film school grad who will help with editing. We have a sales/marketing pro (non-industry) that is willing to network and help raise funds, though she has no film experience at all. We also have to edit the feature length screenplay down to a short.

I've been scouring the net to collect information to begin planning. We don't have access to really any money at this point, aside from what's in our pockets, which is about $5000. I know of a friend who has shot commercials and is willing to rent me a camera (digital-not sure what model) and some basic sound equipment. One of my coworkers is friends with a PR rep. at one of the local malls and said she'd speak to her on my behalf. I'm based out of Atlanta, by the way, if that helps anything.

So, I'm open to any and all suggestions at this point. If this was your project, what would you recommend doing?

Thanks for the feedback. Appreciate the time.

My recommendation is to get your friend who has shot commercials
to shoot your movie - not just rent you the camera. An
experienced camera person is invaluable. That film school grad
should know a lot about the process of making a movie, right? Get
that person more involved - that person will know what equipment
you need.

Atlanta has a thriving filmmaking community, Check out
atlantafilms.com and for equipment rentals getagripatlanta.com

The minimum equipment I would suggest having on hand is:
a tripod
6 lights with stands
2 china balls
8 extension cords
6 power strips
black wrap and gels
2 bounce boards
a good external mic
a boom with extension cables
gaffers tape
a bunch of C-47?s - also called ?bullets? or wood cloths pins
a coffee maker
a slate with marker

If you can afford it - these items you can rent:
a dolly (wheelchair or doorway)
a simple grip kit with:
c-stands (at least 6)
flags (assorted sizes - at least 8)
scrims (at least 6)
silks (at least 2)
cookies (at least 1)
sandbags (one for every light/c-stand and then 6 more)

You might not be able to afford too many rentals on your budget so
you can always go the do-it-yourself route.

A couple of work lights with stands from any home improvement
store.
?url? http://www1.mscdirect.com/CGI/NNSRIT?PMPXNO=9401794&PMT4NO=0?/url?

Five or six ?scoop lights? - those clamp on work lights with the
silver reflector.
?url? http://www.doityourself.com/invt/u239921?/url?

Three or four pieces of Foamcore from any art supply store to use
to bounce the light.
?url? http://www.artsupply.com/brand/foamcore.htm?/url?
Two or three paper lanterns that you can get at Ikea. I hook each
one to a dimmer (home improvement store again) to get better control.
?url? http://www.cherryblossomgardens.com/paper_lanterns.asp?/url?

Some colored gels and some black wrap. Check Studio Depot.
?url? http://www.studiodepot.com/store/?/url?

A do-it-yourself Croney Cone made from foamcore and gaff tape can
be made to use as a gel holder, soft box and light shade.

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The aim of an argument or discussion should not be victory, but progress.
Joseph Joubert, essayist (1754-1824)

C.I. Can I just say that you're friggin' awesome. Wow. That's pretty cool of you. Definitely will follow your advice on asking my friend to shoot the film. He's offered to direct the film for me, however, my co-writer and I wanted to direct ourselves. Is that a bad idea? Should we get over ourselves and let someone with experience direct instead?

Nevertheless, very grateful to you and this site. Really, really, really cool info. If this happens, you're getting a shout out! 🙂

Let me know if you're interested in reading our screenplay sometime.

Thanks again!

I see no reason why you and your co-writer shouldn?t direct it
yourself. Surround yourself with dedicated people who are in it
to help and not for their own egos, and you two should do well.

Another little piece of advice - though not asked for so I may be
out of line - is to not make your movie 40 to 45 minutes. As Dave
said, that length is a tough one for festivals. And it?s way too
long as a showcase for your writing skills.

A good short film is usually in the 10 to 15 minute range.

I suggest you go to several film festivals and sit through the
short film programs. Unfortunately, too many filmmakers don?t do
this. They want to enter, they want an audience, but they are
rarely (if ever) an audience for other, fellow filmmakers. How
many film festivals have you attended?

That's invaluable advice. To be quite honest, I have only attended one, Cinequest in San Jose, CA. I hope that doesn't make me seem like the filmmakers you're describing above. As I've said, I'm a writer by nature and would love to earn a career as a screenwriter. Moreso, I'm a storyteller that has a passion to tell several stories that are close to my heart.

I'm definitely interested in learning. I will take your advice seriously and talk to my co-writer about shortening the film to within those parameters or perhaps writing a new piece.

I'll make it a point to get out to the local film fests here in Atlanta and view the films with a new perspective.

Thanks again for the advice. Would you mind sharing any insight you might have on getting a screenplay read and possibly sold?

Very few producers or directors will read an ?unsolicited? screenplay.
Meaning a script not sent to them by an agent, lawyer or someone
known to them personally. It?s a legal issue. So you need an agent.

If you don't have any screenplay sales under your belt, you're going
to have to approach an agent cold. Without being able to say, "Hey,
I've sold a script! Sign me.", you have to entice them some other way.
There are two ways to get somebody to read your script. You can
network and get to know them on a personal level, then ask them to
read your script as a favor. Networking, however, can take years to
cultivate the kind of relationship where an agent is willing to do you
the personal favor of considering your script without it feeling like
you're using him. Your other option is to query. Send a letter to
agents, asking them to read your script. Since you don't have any sold
or produced screenplays under your belt, your letter has to convince
them that your script is worthwhile anyway.

One very important thing to remember is agents only earn money if
they sell the script. It's a business and their livelihood.

A writer with one script isn't going to be as desirable a client as a
writer with several scripts - no matter how good it is. That doesn't
mean you shouldn't try to find one now, it means you should
understand that if you get a meeting, one of the first things an agent
is going to ask is, "What else do you have?" If you have a couple of
great ideas, that isn't going to be as impressive as pulling out five,
really good finished scripts.

In order to maximize your chances of getting a sale or agent, you
should submit to prodCos as well as agents. The same "rule" regarding
unsolicited submissions apply, but many small, non union prodCo's
will read scripts. An option (or better, a sale) to a prodCo can often
do wonders when it comes to finding an agent. Almost any agent
would be happy to take on a client (and take her 10%) who has already
done the legwork and found money for his work. When sending query
letters to prodCos, call ahead of time and make sure you know how
to spell the name of the person you're sending it to, and what their
exact title is. Screenplays are read and considered by the Development
(or Creative) department. Just call the prodCo (contact info is listed
in the Hollywood Creative Directory) and ask the receptionist if they
accept new material... and if they do, to whom you should address
the letter, and what their title is.

You should NEVER send your script (or a treatment or anything other
than the query letter itself) unless the company first asks for it. At best,
your script (or treatment or whatever) will be returned to you unopened,
or thrown away. At worst, you'll be put on the company's blacklist and
never allowed to submit anything again. Just send a query letter... if they
want to read your script, they'll ask for it.

The best way to optimize your chances of getting an option or a sale is
to send it to as many people as possible. Agents, if they like the script,
will send it to the prodCos they have connections with. ProdCos, if they
like the script, can pay you for your work, or at least give you the clout
to get an agent.

=============================================
The aim of an argument or discussion should not be victory, but progress.
Joseph Joubert, essayist (1754-1824)

Where have I read this before??? 😛

Thanks C.I. I'll keep you up to date on whatever progress I have the fortune of achieving.

This site is great. Hope this thread is useful to others in the same boat.

You've read that before?

=============================================
The aim of an argument or discussion should not be victory, but progress.
Joseph Joubert, essayist (1754-1824)

A 45 minute film is in a real no-man's land: too short for a feature, too long for a short. If you're going to the trouble of making a film of that length (which I assume would entail several actors, several locations, and a multi-week shooting schedule) then you're better off making a feature. It will be about the same amount of work and you'll have a more marketable product at the end of the process. Having said that, you don't want to pad an idea just to stretch it into a feature. I had thought of making a short, but committed to making a feature and the result is we got a small distribution deal - that would not have happened if I'd made a short.
Dale
DVD's now available from:

www.militaryintelligenceandyou.com

That's encouraging news. The screenplay is written as a full-length feature. Most likely, if we were to make a short, we'd create new material specifically for that.

Feels like jumping into a feature our first time out may be more than we can handle at this time. But I'm really hoping to dive in and begin working on something.

By the way, if you're in the area, Atlanta's biggest Film Fest starts next week. http://Atlantafilmfestival.com

Some interesting films.