Red Epic Owner/DP wanted to feature film shoot

[Nick Barton]

We are putting together the pre-production on an indie feature film Western Shoot in Kansas in Spring 2013. We are putting together the investors and need to find someone that would be the right fit for our Director of Photography to include into our package arrangement.

We are looking for someone that has a RED EPIC Package, a reel, portfolio, and several narrative productions under their belt with it.

This is independent filmmaking, but we do have a budget (albeit, a micro one). We will be shooting for 28 days, and all food and travel will be covered.

If you would like to be considered for this position, please email us your reel, your imdb page information, and the budget you would need for your work and your camera. Thanks in advance for your consideration!

[Nick Barton]

So far, of the 12 emails we have received, only 1 has actually given us a coverage cost for them and their camera package. It's nice to see everyone's reel, but if you do not include a budget estimation for your camera package and DP work for 28 days, we will unfortunately pass.

If you have add-ons that you would like to include as well - feel free to present them to us as different packages as well.

Thanks!

[Michael Lindsay]

Deleted but since Naim S referenced my post I feel I should pop the post back up...

Maybe I am out of touch but this seems a little backwards to me...

Surely you should be approaching DPs that you feel have the appropriate approach for the script and director?

I am amazed anyone is contacting you with anything more than a speculative hello and reel link. Sending you a reduced price without knowing anything about the director or script seems crazy. It is not as if they can just send you their 'rate' (since it is micro budget)

Perhaps you and the director should watch some reels and reach out to who inspires you? Person 1st... Price 2nd?

Sorry to interject if my comment is not helpful.

Michael L

[Naim Sutherland]

Michael, what you are saying makes so much sense, but what this producer is asking is the norm, at least in my city.

I am so frustrated by the request to see my rates and gear immediately before having any discussions about what the visual style of the film will be, before meeting the director and talking about the story and the vision, before discussing any other details they want to know a price and what gear I am bringing to the table.

That attitude is so pervasive in my city, and it is so frustrating, and I know I lose out on jobs on price... there is often no negotiation, they just look at it and decide my quote is too high, and this other guy's quote is lower, so we'll go with him. Reels and levels of experience are not as important as price. The best shows I've done have told me what they can afford for camera gear and for G&E gear and asked me if I can do it for that. That's a nice upfront way of working.

So Nick, please just look at the reels, chat with some people, and see who you think would be a good fit in terms of personal style and personality. Don't get hung up on what package people have.... do you even need Epic for 28 days? How much 120-300FPS material will wind up in your film? Maybe Scarlet will do, and if you have high speed days you could rent an Epic or Phantom for those days? Almost any DP with a few shows under his belt will be able to pull together a good kit for you, and at the end of the day the prices on gear won't vary so much that it will make or break your budget.

Also, you are getting quotes in for gear from people who haven't read the script, right? And they haven't discussed the visual approach of the film with the director? So how do they know what gear is required for the shoot?

It's a really backwards way to work, and it doesn't even serve your film very well.

From your own website: It’s not always as easy to identify the cost of a music video without having first getting an idea for the music video – the location – the commitment of the edit – the cast – the crew – and the length of the song.

[Marc Wielage]

I think a better choice is to have a sit down meeting with the DP and tell them what your available budget is,and then the camera department can tell you if what you want is feasible. Hoping to wind up with a low-ball bidder is folly, and unfortunately in this business, sometimes you wind up getting what you pay for.

I think it's impossible for a DP to determine what his or her budget will be unless they've read the script, understand the locations involved, the expectations of the director, the visual style required (mystery? period piece? science fiction? horror? romance?), and the challenges presented by the schedule. And you have to consider that the experience of a decent DP could uplift your project from yet another mediocre direct-to-film-festival project vs. something that might actually make money.

To me, asking for blind bids like this would be like trying to buy a used car without first driving it or seeing it. Just because somebody has a great demo reel (or even a bad demo reel) doesn't mean they're going to be a good creative fit for the project -- and I mean that both ways. I think Nick needs to reassess his point of view and understand that you need to "cast" the DP just as much as you do actors, making sure they can physically and mentally do the job, but also that they have the right personality to get along with on a day to day basis, and also that they understand the creative intent of the project. Even more so if they're expected to round up camera assistants, grips, gaffers, electricians, and so on.