So I had this great idea for a movie..

[azmyth]

So the line starts....

Let's say I have this great concept, that I'm working on with another film maker in order to write a screen play. We already have 2 features under our belt with distribution for both, and we already have a location set up for this new film. We want to pull out all the stops, and make a "real" movie.. but still low budget. The movie we have we think we'll appeal to several different companies who might be interested in backing the project.

We already have a name that we are interested in attaching to the project, who is sort of in limbo in terms of his acting career but is still popular enough as a pop culture sensation to draw alot of attention to the project should he become attached.

Now, in order to make this movie we'd have to have much more funding than anything I've done to this point. Outside of him, we'd still cast regional actors, and quite possibly go under the SAG low budget agreement (if he's SAG). I'd hire a camera op with a RED ONE package, and hire some key crew members, and use my normal crew for the rest of the positions.

I thought about taking the screenplay directly to the actor, and seeing if he's interested in doing it. The movie would put his particular "line of work" in a positive light, and could possibly garner him some attention. I've used crowd funding in the past and from where I sit, the projects who meet their "large" goals.. are ones with a built in fan base already. My thought process is that if I could get this actor interested and attached to the project, would having his name help us raise funds via crowd funding? He's something of a pop culture icon that alot of people will know from their child hood.

The film is not a "christian" movie, because of some of its content.. but would have a positive message that would appeal to that crowd as well.

I want to take this to several avenue's in order to get funding, but what are your thoughts on bringing this to the actor before I even go any further?

[Bif]

Take it to him. Lay everything out on the table and point out your "track record", it would help if you had "screener" copies of both "Exit 101" and "7TM" he could see.

Ask him for HIS thoughts on what to do. Stress that he's the first one to be shown the project and the only one approached so far.

The ball's kind of in his court. If he appreciates your direct no BS approach, he may opt for it.

Bruce Foreman

[azmyth]

Yeah, this is way down the line after 7TM is done, but I like to keep things flowing, and this is going to be a complete switch from horror.

I've had small talk with him before on FB, so I know he's "approachable" directly and right now I see him mostly doing appearances at conventions and trying to sell merch.

[Almohada]

That's the way to go. I'm kind of in the same position for my huge projects. I can make a phone call right now and get any major star I want... but if I have nothing to show then it's useless. Like Bif said, I think that telling him he's the first is essential!

[azmyth]

I'm thinking about shooting a segment of the film with someone else in the role, to pitch to him as well and say something like "this would be the role you'd be playing"...

I've been looking at prices, and it looks like it would be more cost effective to rent a C300 package instead of RED ONE.

[Almohada]

I don't think you should worry about the budget now.... if he is well known and becomes passionate about the project, he'll help by bringing people in...

[MilesDyson]

I can make a phone call right now and get any major star I want...

Yet you couldn't afford a $100 plugin.

[Almohada]

Exaggeration... read the line after it...

And yes I couldn't and still can't. I have 4 dollars and 65 cents in my wallet right now.

[BarteS]

Sorry, bit of tech..

I've been looking at prices, and it looks like it would be more cost effective to rent a C300 package instead of RED ONE.

Ain't that a bit odd to 'just' switch based on prices? The Red One has the resolution and the C300 the ergonomics and low light for starters. Shouldn't you consider what you need and find the matching camera package? Possibly you should put in the extra money to get the One, or perhaps, even if you don't need to, you should keep the money and put it to something else as the C300 would work better.

[azmyth]

That's not the only factor. I really hate how with the RED nothing is interchangeable.. it has to be RED or it won't work.. which means that basic kit cost.. will probably double by the time you rent everything you have to have in order to use it for something like this. But its too early for all that anyway.. I was only looking to get ballpark figures on budget..

[BarteS]

Ok, just wanted to check your motivation and this one is indeed the tricky bit of many RED products, hidden costs.

[drapeama]

I've been looking at prices, and it looks like it would be more cost effective to rent a C300 package instead of RED ONE.

Can I ask why you'd want to shoot your next feature on a RED or the C300? I mean, you've already done two features on "consumer" camcorders/cameras and it worked pretty well so far. I think you would run into trouble dealing with not well known new cameras: you'll be dealing with bigger factors, so why not stay in the comfort zone technically? Unless you'd have a dedicated editor ready to deal with RED files...you know? So far I think you've done editing on both projects? Moving a step further with these new camera is attracting (of course, it's one step toward the "big boys" line) but as I said, you would probably move more into troubles and stress if something goes wrong.
So far, I think your GH2 is quite able to deliver a stunning quality. It's a great tool. I would opt to use it and take the best out of it. If you start renting the cameras, it will "cut" in the budget somehow. As it can deliver a more than needed quality, I would save that money for something else (crew, equipment, whatever) instead.

That's my opinion though.

Yet you couldn't afford a $100 plugin.

Oh! Good one! Made me laugh!

[azmyth]

I mean, its not out of the question.. but this is hopefully going to have a pretty big name attached to it.. I'm looking at theatrical release for this.. GH2 capable of that?

[drapeama]

I'm looking at theatrical release for this.. GH2 capable of that?

How many movies have used DSLRs recently? Black Swan has been shot using a 5D in a considerable amount of scenes. I mean, the picture quality meets the requirements easily.

[Almohada]

RED, hands down.

[drapeama]

but this is hopefully going to have a pretty big name attached to it..

But reading this again: if you have something that worth telling the story to show to that big name, no matter on what you're going to shoot it (it all comes down to creative preferences) he will accept and step in with you.
I mean, you have 2 feature under your belt to prove what you're able to do. You could shoot it on an Iphone just for the thrill and it wouldn't matter. Just be honest/true and be realistic. Similar applies to the guys that get tons of gears, makes the camera hard to find in the whole setup. It looks pro, but they never shot anything else than test footage with that. You know you're not one of these guys. You've bought some fancy stuff on Exit 101 (Lights, Mattebox) and ended up shooting it with 500w Halogen lights and you've sold the Mattebox for peanuts earlier this year! Just look at your setup: some people would complain about the cheap mattebox, but you're not using expensive equipment for the thrill. It's a cheap one that blocks the sun and doesn't accept filters. You've probably bought it because it was cheap, and because you've probably never used any filters on the previous mattebox (which was more expensive). So what's the point? Use what you need, simply. No need to take the risk of shooting it on RED. No problems renting a RED to test it, see if your computer can handle it (unless you'd have a dedicated editor with a proper machine) and if everything's fine...then go ahead. But play safe. I'm sure it will be more rewarding that way.
Just my 0.02¢.

[Erik Bien]

Just to play the (RED) devil's advocate for a moment, the RED One is still a very attractive option for narrative feature-style production, and prices are under a lot of downward pressure from RED's newer cameras as well as the competitors. I've seen very "complete" R1 shooting packages listed for sale at $25K languish without a buyer, and rental pricing in most markets is following suit.

RED Ones with the MX sensor and SSD recording upgrades can do higher frame rates at higher resolutions than the Scarlet, and IMHO at this point are pretty stable and "mature" — the big tradeoffs are larger size and weight and the 90 second "boot up" time.

Post production support for RED has come a long way lately; it's completely possible to edit .R3D material on commodity hardware with most of the popular NLEs, or you can render out proxies, DPXs or EXRs for VFX shots, etc. using free RED software. RED's "all RAW, all the time" approach of doing the heavy lifting of debayering, scaling, noise reduction, etc. off camera means footage shot with any RED benefits from the latest software improvements.

Although Speedgrade and Resolve are now essentially free, I don't think conforming and finishing a feature for distribution in today's market is really a DIY project just yet. There's a great deal of nuance and art involved in color grading, to say nothing of making sure the DCP looks like the blu-ray looks like the overseas version, and they all meet the distributor's delivery standards. Many smaller, "boutique" post houses and freelance colorists are now familiar with RED material and know how to get the most out of it without necessarily requiring a "million dollar room" grading suite, so it need not break the post budget.

In practical terms, as of today, a RED One is still probably the most reliable and cost-effective RAW-recording digital cinema camera you can rent or buy. Monitoring, cooling, audio, third-party battery and accessory support are well sorted. Stick halfway decent lenses on it and expose properly (not all that hard if you can read a histogram), Bob's yer uncle.

[Janke]

GH2 capable of that?

As long as the camera is adequate, it's only what's in front and behind the camera that really matters...

[Almohada]

it's only what's in front and behind the camera that really matters...

and whatever is in between front and behind the range of focus LOL... camera subject distance, THE DOF whatever is in FOCUS hahaha

[drapeama]

As long as the camera is adequate, it's only what's in front and behind the camera that really matters...

Hey Almo, I assume Janke meant that no matter the tool you're using (between!), the only thing that will determine your production values will be what's in front and behind the camera! That, provided you know how to use the tool!

[Janke]

Yup, you got it, Drape...

(Knowing how to use the tool is included in the behind...)

[Almohada]

I know exactly what he meant. Just came out wrong..

[azmyth]

I agree with you guys, I just want to best picture possible that's all.

[drapeama]

I agree with you guys, I just want to best picture possible that's all.

Then, as I said before, I'd strongly suggest you to stick with your GH2 and save for something else. Your camera is plenty capable to give excellent results. Don't bother for more. Ambition is great, but as Clint Eastwood said:

Well, you're a good man, lieutenant. A good man always knows his limitations...

[BarteS]

How many movies have used DSLRs recently? Black Swan has been shot using a 5D in a considerable amount of scenes. I mean, the picture quality meets the requirements easily.

And what about perhaps the best example: Act of Valor. It is shot for about 75-80% (amount varies, for what it's worth anyway) on DSLRs (5D Mark II, 7D, .. yes no one stop shop on the DSLRs). It is just about whether the DSLR has an advantage in some way. In the case of Act of Valor it allowed for a 'first person shooter' kind of movie.
And remember those countless amount of episodes of House, CSI, NCIS:LA, .. which make use of DSLRs. On top of that, recently watched a little video in which the DP of I believe CSI Miami said they did use the rolling shutter as an effect.
So sure, you could use a DSLR. If you content and style is good you can get away with quite a lot, even soft image of a first generation DSLR.