Latest / Indie Film Podcast / [Deep Dive] DIY Filmmaking: How We Shot a $250 Short Film in 10 Hours

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[Deep Dive] DIY Filmmaking: How We Shot a $250 Short Film in 10 Hours · Indie Film Podcast

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Welcome to Indie Film Podcast. This week we are talking all
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about the production of a $250 short film called Dive, directed
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by me, Victoria Horn. I'm Chuck Co host as well as
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location sound recordist, sound mixer for the short film dive.
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We're both active micro budget film makers and for three
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episodes we're breaking down the short film dive.
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With us today we have cinematographer and colorist
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Daniel Clamorous. Let's talk production and actual
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shoot days. Victoria, do you want to start
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off? Yes, we're going to start start
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with the boring stuff that we left off on last week.
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So exciting to start with the boring recap, but the details of
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the shoot, just so everyone is on the same page when they're
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listening to this. It is a short film.
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It was one location. We did interior and exterior,
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plus technically inside a car that was in the parking lot of
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the One. Anyway, 4 actors, two shoot
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days, a nine page script. There were 43 shots on the
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master shot list. Daniel may never work with me
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again. On the first day, we got nine of
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them. We managed to get 9.
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The call time was 3:30 PM. We were shooting from 6 to 10.
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We did get 16 shots on the second day where we had a call
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time at 4:00 PM and we're shooting from 5:00 to 11:00.
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All things considered, I'm actually really proud of that
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so. So 2 half day shoots
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essentially. Two half day shoots for a total
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of 25 shots. We were there early, crew was
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showed up early and then cast was basically just 1/2 day,
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Yeah. Two half.
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Days, did you? I don't know, I might have been
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spacing out already. What was the total amount of
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hours during production? Total amount of hour of actual
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live shooting, yes. Was 6 to 10 is 4 hours. 5 to 11
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is 6 hours, 10 hours, 25 shots, 10 hours.
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That's not bad. Yeah, for 9:00.
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That's pretty solid. Yeah, I don't feel, I don't feel
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horrible about it. No, I feel a little pretty weird
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about why were there 43 shots on that master shot list?
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What was I trying to do to you? Yeah, well, it it sounded a
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little discouraging when you first brought it up, but
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actually it sounds, it's actually not that bad.
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No, it's actually quite impressive.
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Congratulations. That was really well done.
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We we all work together on that one, yeah.
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It was a very skeleton crew, to put it lightly.
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OK, the details on the budget specifically, just to make sure
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that we do know it's a $250 short film.
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It's kind of a nice way of saying the production budget was
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actually $235, was $100 a day for Crafty.
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For two days, 200 props totaled $35.00, so technically the
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production budget was 235. Then I printed some additional
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little card things that was an additional 25, and then of
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course spent more than double the budget, $500 on Film
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Festival submissions. So out the door with all the
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marketing budget included, the entire production $760.
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Nice. But again, 500 of that was film
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festivals. And you were lucky enough to
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have a bunch of people donate their time and location.
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Literally everybody donated their time and this location and
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their skill sets and their gear. But we talked a little bit about
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it last week. It's kind of nice, the Film
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Festival that everybody was participating in, essentially
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everybody's guaranteed A screening if they finish and
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they're eligible to win awards. Which is really cool and it's
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really fun. And you do have four months to
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make a film, which is also impressive.
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Yeah, and we should toot some horns.
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There were some awards won. There were yes.
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There were yes. Oh, we got best screenplay and
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our lead actress got best actress.
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Yeah, Katie. Solid job, Catherine Rowndy.
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Crushed it? Absolutely.
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But so did Mark. So did Tate.
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So did Lee, even those. One day the film will be online
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for viewing and then you can see just how amazing they were in
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the meantime. Let's talk about goals.
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Yeah, discuss goals for the film.
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Victoria, do you want to tell us what your goal was?
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Yes, I wanted. I would say as the writer, my
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biggest goal for this was to channel suspense in a very
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Hitchcockian way. That was what I really wanted as
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the writer. As the director, I just wanted a
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short film that was not too complex, not too over the top,
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but was really technically sound.
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Because the last one that I directed, What's the Worst That
4:26
Could Happen, was funny and quirky and silly and great in
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its own weird little way, but technically speaking, a little
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lackluster. The cinematography which I did
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was is fine. So you.
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You had good framing the gap sometimes.
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There was no. Composition.
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Composition was nice. The composition was there, yeah.
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There was literally no gaffing, though.
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It was not great so. That was that makes things
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instantly more cinematic. It does.
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So that's awesome. So those are those are your
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goals, Danny. You want to talk about what you
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were trying to do with the camera?
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I think ultimately my goal is the DP is to execute the the
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director's vision. And I mean, we had some talk in
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kind of pre production, if you will, of I mean, you had talked
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about like one of my questions to you is because there's 19, I
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think if I remember correctly, like texts that could have been.
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And I was like, how do we, how do we portray that visually?
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And like you had talked about graphically instead of visually
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showing the phone 19 times. So I mean, that kind of got me
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thinking, you know, if we can expand the frame a little bit
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and use some of and you also like high contrast.
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So with the high contrast and the wider frame kind of gave a
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little bit of room for that that text to show up.
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That was that was kind of my goal there.
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And then with a high contrast, I've never done this before, but
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kind of looked into split toning for for the post for color, but
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those were kind of my 2 big goals going in.
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You shot on anamorphic? Was were those new?
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Was that the first time you shot on those lenses?
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It was it kind of it kind of lended itself to the project if
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you. That works really well it.
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Really did it Really did. To be fair, I guess that is one
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thing. In addition to needing room for
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the text messages to show up on the screen, the whole the the
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Film Festival asked that your film be made inspired by a
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decade, which we were given 90s as the decade to be inspired by.
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So having like sort of the wider emptiness and really emphasizing
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how empty the bar was, I thought was really impressive the way
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you did it on every single frame.
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Like they feel so weirdly isolated in that bar and it's
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really cool. They were, and part of that goes
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to Gaffer Lee because he had some light fixtures that I
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didn't have. We actually ended up using his
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light mats, which we just put right above the talent and kind
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of created a pool of light above them.
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And so we ended up, if you really pay attention, it might
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look kind of weird because there are two practicals hanging just
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above the talent that are not lit because those, the problem
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with those is they, what were they doing?
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They were like, they have like a weird flicker.
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Yeah, like. An odd flicker.
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So we. Oh.
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That's right. Yeah, we.
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Just killed those. Which is fine.
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They just looked like decorative barrels up on the wall.
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Yeah. No, it worked and even though
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they weren't lit, I feel like it's still acted as like a a
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motivational piece. I don't know how much people
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really pay attention. People really don't pay
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attention to lighting. As long as it looks fine it it
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can pass. Yeah, that's.
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They just want it to be good. Yeah.
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And then when it's. Yeah, when it's bad, the same
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thing with audio. It sounds like crap.
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Then they notice if they, if it's great sounding, it's like
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nobody cares. Yeah.
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Actually fantastic segue Chuck. What was the goal with the
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audio? So my goal on dive with audio
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was to get all the Foley on set as much as possible.
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So when we were speeding, I was always recording.
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I don't think I missed a single shot on this.
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And it's it's tempting and a lot of directors are tempted by that
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to try to get a shot quickly and not set up for sound and assume
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that a lot of those, you know, fully sound effects can be added
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later in post. But the stuff that we got on set
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was really good. There was one that I noticed
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secifically where the bartender is leaving behind the other two,
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and you don't really see him leave, but you hear his
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footsteps keep going because you got them.
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And I'm in my head. I was like, this is perfect.
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I can still use this shot. It's not weird to the audience
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because at least you heard him walk away.
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Yeah. And it was perfect.
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I do remember that I was hiding behind the bar and there
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weren't, nobody was saying anything, I don't think at the
9:19
end of that scene. Or maybe I'd move my my boom
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down to make sure that when he walks out of frame, you can hear
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him footsteps out of frame the beginning of the movie.
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I did have to add some footsteps for Mark because I didn't cover
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him as he was walking into the bar.
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So those are foleyed in after the fact.
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And I think I had to add like a couple other sound effects like
9:41
sound design Y things later on. But overall, like the truck
9:46
pulling, driving into this the at the end of the film and then
9:50
people pulling up in cars walking in, like I got all that
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just natural so that it didn't need to be fixed.
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No, which just it just looks better because it fits perfectly
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right. Like for example, the car that
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you see pull up in case anybody wants to sponsor us later is a
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2015 Dodge Dart. Thanks, Dodge.
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And I don't know their slogan, otherwise I would throw it in
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there. But if you are trying to fully
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that later, I mean, yeah, you could just look up another sedan
10:21
engine. But is it actually going to
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sound exactly right? Because I will say that for its
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size, the engine is a little bit louder in that car.
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So I don't know, it was really nice that it was the real sound.
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And outdoors it's nice too, because you get, it was night
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time and I did get some crickets and things like that.
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And people walk in and gravel, it was a gravel parking lot.
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And that's all a little bit trickier and sometimes sounds a
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little less natural when you add Foley later on.
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So and Danny, I know that there were some situations that were
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outside of my control that frustrated me, but what did you
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run into on set as a cinematographer where you're
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like, oh man, this isn't ideal? I mean, the the parking lot
11:03
being largely uprooted and fenced off was kind of kind of a
11:09
kick in the shorts. Oh, that's right.
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So we my bad. I completely forgot that their
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parking lot was entirely under construction.
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So the bar that we filmed at, basically we just had a sliver
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of area to play with at the front of the bar because all of
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the parking lot was just dugout. I think they're putting in a gas
11:28
station. They're.
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Putting a gas station in. So if you go to Hilltop Station
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just outside Boise and you go later this year, then you will
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also get to enjoy a gas station, which is 1 now, going to be one
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of the only gas stations around and in those mountains.
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I'm actually really glad they're putting it in.
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That just seems like a really good community effort to make
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sure people don't get stranded. Yeah, so.
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It's out there for sure. So that was your, that was the.
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Big one. I mean, that was a big one
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because I mean we had, I mean, I guess before we had scouted the
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location, we had seen that 3/4 of the parking lot was, was a
12:06
hole and fenced off. A fenced hole, Yeah.
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Yeah, yeah. Not not necessarily a safety
12:12
hazard, but a composition hazard, yeah.
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You know, you just have to get creative with it and.
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And you did. Yeah, I think we, I mean, I
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don't know what other. I mean we did because that was
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that was I think are kind of one option.
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I don't know how else we would have framed out the fence and
12:34
established the exterior the bar in a different way I guess.
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Unless we tried like shooting through the fence, but then
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you've kind of got to explain the fence's existence.
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I don't know if you want to go through all that in an 8 minute
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film. Yeah, add add time to the movie.
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Explain. Largely unnecessary.
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Is really crazy. Yeah.
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Just add a line of dialogue. That's awesome.
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For me, I think the most frustrating aspect, anytime we
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go into a restaurant or bar, the refrigerators are so loud.
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And Hilltop Station had a lot of fridges and freezers.
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There was one that was in particular was an ice cream
13:16
freezer. And you can't turn that stuff
13:18
off when it's at a restaurant because obviously they have
13:21
codes that they, they need to keep up with.
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So I have a note here. So the noise level was -30 DB
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when the dialogue was bouncing around at like, between -18 and
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10. So I did not have a lot of
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leeway as far as processing. And I knew that that was going
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to be a problem. Yeah, that was it was it was an
13:44
issue. But fortunately I was able to
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clean it all up in the in the end.
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But it was it was loud in there. It was loud.
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Real loud. And then the anamorphic lenses
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was a nice, nice touch to a new skill set for me because running
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boom on an anamorphic lens, I have never run boom while
14:01
someone's shooting anamorphic. And so it's just a little
14:04
counter intuitive because it's so much wider, but then so much
14:07
shorter on the top. So we were we were shooting on
14:09
2X anamorphics. So I think we largely shot on
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the 40 mil. So basically the the vertical
14:17
height is of a 40 millimetre lens, but the the horizontal the
14:22
width is like of half that like a 20 mil so.
14:27
It looked great. It looks it looks so pretty.
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I love the look. But yeah, I I wasn't used to, I
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didn't realize I was so used to shooting on just regular lenses.
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I assumed I knew when I was out of the shot running boom.
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And then you'd be like, oh, Nope, can't, can't move over
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there. I'm like, I'm just, I'm just
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like right behind Danny. Then the entire time trying to
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stretch my boom pole out as far as possible.
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So that was that was fun that. Was that?
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Was good anything? Anything in directing that
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frustrated you? The most frustrating thing from
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the directing side that was outside of my control, I would
15:02
say, was almost losing Danny, or at least his knees.
15:07
I. Didn't know everyone wanted to
15:08
talk about that or not. That was Safety is always such a
15:14
big thing for me, personal. Well, for 99% of film makers,
15:19
safety's a big deal. It should be.
15:21
It should be, should be. It's not a bad thing to care
15:25
about, but there was one shot where both of you were in the
15:31
truck bed. Yep, that we were filming
15:34
through the back windshield to and we didn't do any test runs
15:39
on it. We were also, and this is a good
15:43
a good lesson to to film makers like, you know, would you,
15:46
you're, you're behind on time and you're trying to wrap the
15:49
day. Sometimes you cut corners or
15:51
don't think things through thoroughly and that can that can
15:55
lead to some potential problems. This was that last hour that we
16:00
ran over because we were supposed to wrap at 10.
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We started filming this 10 and in hindsight, I, I really needed
16:07
to have said let's do a trial run without the gear.
16:10
Let's let's make sure that the actor is comfortable driving
16:13
this truck. He's literally never driven
16:15
before. And of course, it's a manual,
16:16
which he hasn't driven in years, but we're going to make him do
16:19
it now on camera. And the brakes just stopped real
16:24
efficiently, which kudos to Toyotas trucks.
16:28
Fantastic. Great breaks, great breaks.
16:31
The truck and the Danny and his red Cam stopped when he hit the
16:36
back window. Yes.
16:38
So yeah, mostly, I mean my, my knees went forward into the back
16:45
of the trunk, my arms, my arms went up with the camera.
16:49
You were trying to protect the the valuable, yeah.
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Trying to protect the goods. And so yeah, my knees took a
16:55
little bit of the brunt and you know, I only clipped the rods of
17:01
the of the camera rig which just kind of jostled the matte box,
17:05
the top of it loose a little bit.
17:07
But that is the extent of it. That is impressive and your
17:10
knees have healed. I there.
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I I I got here. You did.
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All on my own. All on my own.
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Love it. Yeah, they're fine.
17:19
So yeah, that's probably that was.
17:22
I don't know why. I thought, yeah, let's just skip
17:24
a trial run on that. One, to be fair to you, I was
17:28
very much in the spirit of let's just, let's get it.
17:31
I was. I was ready.
17:33
Yeah, I was. I was pumped.
17:34
I was like this, is this exactly what we need?
17:37
And the shot looks so cool and honestly even you crashing into
17:41
I. Wanted you to use that shot.
17:43
I almost did I. Thought it would have been so
17:45
great, like literally impactful we can put.
17:49
It on one of the one of the video clips of this.
17:52
How's the? DPS cut.
17:53
Yeah, terrible. OK.
17:58
So sort of on that note, what are Chuck, what are some of the
18:03
things you're going to take forward with you from this?
18:07
What were your biggest learning experiences?
18:10
I think I realized on the in the sound department, when you're in
18:13
those loud areas, it would have been nice to have some curtains.
18:16
And I don't know how much that would affect the gaffers, but it
18:21
was nice that Tate had he happened to have like a
18:24
separator that I was able to put in front of the refrigerator or
18:29
in front of the freezer, and it did drop down the volume of all
18:32
the noise. Like a partition.
18:34
Yeah, yeah, Like, yeah, setting up a partition would be good.
18:37
It wasn't perfect, but I realized if I had some thick
18:40
curtains and some something to hang them on, I could have like
18:43
blocked off some of that noise coming from behind the kitchen
18:47
and kept that out of the shot as well.
18:49
So that would have been, that would have been really helpful.
18:51
And they do make stuff like that, but it's kind of
18:54
expensive. And being a sound person,
18:57
usually I'm like one of the benefits of being the sound
19:00
person is I don't have as much equipment as the, the camera
19:04
team or the gaffing team. And it's kind of annoying if I
19:08
have to roll up and I have like, you know, like 20 feet of, of
19:12
dividers to block sound. But I could like, I could
19:18
potentially do something like that when you get in a noisy
19:20
area. And it did help with just like
19:22
the the partition that Tate had. So also rode wireless pro mic
19:28
transmitter is only for monitoring.
19:33
I don't want to say that they that they're not useful, but we
19:38
were recording boom. I ended up using mostly boom
19:42
audio in the sound mix, but we had both actors laughed up.
19:47
And if you're unfamiliar with Rode wireless microphones, they
19:51
use basically wireless like Wi-Fi, like 42.4 GI think is
19:57
what it is. I don't know if it's even the
19:58
five GI don't know you'd have to look that up.
20:00
But they don't use like a radio signal and so they were cutting
20:04
out because the. The actual environment we were
20:07
in was it's a it's a cool building, but it had really
20:11
thick wooden bar. Yeah, if there's any
20:13
obstructions, I use those for like my videography work.
20:17
And yeah, any kind of obstruction you can have, like
20:20
the talent can turn away from the camera and you could
20:23
potentially lose like signal. And it was, it was, it was
20:27
cutting in and out quite a bit, which I'm glad that you did the
20:31
syncing on the actual units because it'll, I was recording
20:34
into my my Zoom, my F8N, and I was hoping that that's the one
20:41
that slates the take and everything.
20:42
But when you record it onto the actual Rd. units themselves,
20:45
it's just like whatever the next number is.
20:47
So those are not nearly as well organized as a folder that has
20:51
everything. But unfortunately, the lab audio
20:54
that went into my Zoom was completely unusable.
20:58
So the road mics were what needed to be pulled.
21:00
And then that's a completely different organizational mess.
21:03
But you can potentially timecode sync all that stuff, but it gets
21:07
a little tricky to as far as the monitoring is concerned.
21:11
So road work on that. It's it's not their fault.
21:14
It's you. You just got to pay like $1000
21:17
for a UHF, $1000 minimum for like a UHF transmitter.
21:22
Yeah, but that that was. It's just money.
21:24
Yeah, yeah. Come on, you can deduct.
21:27
It we already talked all about the deductions 2 weeks ago yeah
21:31
I. Just need AI, just need a gig
21:32
that like puts me over my my medical insurance income limits
21:36
and then I'll spend that money. There it is.
21:38
Yeah. So directing what were, what
21:40
were some lessons that you're going to carry forward, Vic?
21:44
Keep prioritizing safety for sure.
21:48
I think realistically leaning into what other people do so
21:56
well more I guess, because I know that I had really pushed
22:01
for a lot of this to be shot on sticks because I like, I like
22:07
that I just. I think to be fair, I was really
22:11
on board with that as well because I don't do a lot of
22:12
stick shooting. I'm glad it was at least an
22:15
exciting option for you. I just think, yeah, but you had
22:21
so many really cool shot ideas that I'm like, I should have
22:27
just leaned into your vision harder earlier on, if that makes
22:33
sense. Well, I think the the problem
22:35
with that though that we ran into was it was not that we
22:40
decided necessarily that we didn't want to do that.
22:43
Like we kind of just ran out of time.
22:45
And I mean, most of those like the shots you're referring to
22:48
are like Dolly shots, which we did set up the tracks.
22:51
But I mean the the time we would have taken and the lighting
22:57
setup to have to redo, Yeah, it just didn't work.
23:00
Out with timing it was. It was definitely something to
23:02
consider, but realistically, so maybe that's the number one
23:06
thing I need to take forward. I always need more time than I
23:09
think I need that. There we go.
23:11
That's my directing #1 take away.
23:13
I need to schedule less things. I have this horrible time in
23:18
permanence problem where I'm very optimistic about how much
23:21
can happen in a whole 60 seconds.
23:24
So I need to work on that as a director.
23:27
Out of out of the 25 shots, is that how many of there were?
23:31
Yeah, ish. How many of them did you not
23:34
use? Great question.
23:41
I actually don't think we got a shot that we didn't end up using
23:45
in the final. Damn, there may have been one,
23:50
but I would be shocked if there were two.
23:52
I can't think of one that we didn't actually use because I
23:55
was going through the shot list earlier today.
23:56
So that's tight. That's a tight shoot then if you
23:59
use every single shot. If I used them all, it was time
24:01
well spent. But you did, you did play out
24:04
during the actual production. You did have the actors play out
24:08
of the almost the entire scene in the wide, Yeah.
24:11
And then you had them, you had them actually act big chunks of
24:17
each of each shot. So it gave you options and they
24:19
added which is good you. Ended up using them.
24:21
Yeah. That's what I end up shooting
24:22
for, is to have a lot of that extra coverage.
24:24
So I know that yes, we had this particular moment of the whole
24:29
movie on about four, maybe 5 different shots.
24:33
So maybe that feels like overkill, but it gave me so many
24:36
options, especially for continuity stuff where the
24:39
scenes and the takes are longer and they're drinking at a bar
24:43
and you don't remember where exactly their hands were as you
24:46
go from shot to shot. So that was probably the hardest
24:49
part of the edit, was some of the continuity line UPS on where
24:51
their hands exactly were, because of course we did not
24:54
have a large crew to sit there and hound them about exactly
25:00
what positions their bodies were in.
25:02
Yeah. Was it 8 people including cast?
25:06
Yeah. Ish.
25:08
Yep, so we had or you had, Lee was gaffing.
25:12
Yeah, and acting. And acting so.
25:15
Christie was 80, but also ready to be on camera at a moment's
25:19
notice in case we needed that other bar patron.
25:22
And then the three of us. And then Sam.
25:27
And the two actors. And then, yeah, the two people
25:31
what, 3 Tate. Oh, Tate.
25:33
Yeah. So yeah.
25:36
Right on, Danny. What did you?
25:37
What are you going to take away from this one?
25:41
I think I got 2 two big takeaways.
25:45
The first I, I really enjoyed the split tone, which I think
25:49
we're going to talk about later, but it utilizing a split tone in
25:54
post only helped like shape the fall off on the actors and
26:02
everything. I I'd never tried it before.
26:05
What is a split tone? So it's it's you're basically
26:08
creating color contrast between the shadows and the highlights.
26:11
So you use like you get your 18% middle Gray and whatever color
26:15
space you're working at. And then you depending on what
26:18
color contrast you want to use. I like eliminated the Reds from
26:23
the shadows to give it more of a cyan, and I tried to push it
26:27
more green like we had talked about, which I'm not sure really
26:32
showed through as as much as it did on my calibrated monitor.
26:37
Oh, I feel like it did. Did it?
26:39
Yeah, I feel like it really does.
26:40
It did. But it's not in like a, this
26:43
looks like Christmas red and green kind of way, which I
26:45
really appreciated because that was certainly a risk.
26:48
Yeah, we had talked about that beforehand, but they were
26:54
actually what was the one. I think I sent you one reference
26:57
or maybe I was just doing it on my own and I saw I was like, no,
26:59
this will work. It was Amelie Some, some was
27:03
anyway. No.
27:04
So you sent me that whole video that kind of walked through a
27:06
bunch of different examples. Yeah, this was like a theatrical
27:09
reference. Yeah, I don't.
27:11
It might have just been on my own, but just.
27:15
Digging through looking at color grade stuff for fun.
27:17
Why not? The other was I, I, I think the
27:20
biggest, I mean, aside from camera movement, I guess from a
27:25
cinematography standpoint, like, I think my biggest opportunity
27:29
would have been like the catch light, like the eye light for
27:32
the actors. You know, because we were
27:36
shooting in such a high contrast environment without losing too
27:44
much shape on the actors. We tried to add a catch light
27:48
didn't really show through as as much as I would have hoped.
27:53
And in some I guess research after the fact, I think going
28:01
forward you, you shoot everything much brighter and
28:06
then you ND it, which considered doing, but I didn't have the
28:10
appropriate stops of ND. Oh, that's right, I do remember
28:15
you were on set because you had like a.
28:17
You had three, 3-4 and five. And if I, if I had like, I don't
28:22
know, three would have been way too much for that space.
28:25
Like we would have had to really light everything up.
28:28
But yeah, yeah, catch light. I'm gonna, I'm gonna take that
28:33
going forward. I dig it, yeah.
28:36
Nice, good lessons learned. I mean, that's how you learn.
28:38
You do, you do, and you learn. Yeah, excellent.
28:42
Well, thanks for joining us, Danny.
28:44
Should we? Does anyone have anything to add
28:45
before we say a succinct goodbye?
28:48
I. Think that's that's all I've
28:50
I've got. Excellent.
28:53
Thanks for having me guys. No.
28:54
Problem bye. Bye, take Care now.