A film’s production consists of four major steps:
- Production in its Early Stages (shooting)
- Production after the fact
When it comes to development, the creative juices begin to flow, the plot begins to take shape, and everything begins to fall into place. A producer will use all available resources until they find a story that is interesting enough to pursue further. Newspapers (both local and national), blogs, books, and plays are just a few examples of excellent sources of material that could be optioned. You can always buy the rights to an original screenplay or commission a screenwriter to write a script based on a book or other form of printed media that you now own the rights to. Once the producer has a script, the next step is to obtain coverage or feedback on the script.
Some screenplays will require numerous coverages before the producers are satisfied and ready to send letters of intent to management and agencies. Finding the right director for your project is critical, and you might end up being that director. Before approaching potential investors, consider hiring a line producer to help you break down your script and develop an estimated budget.
An independent film producer can finance a film through a variety of methods, none of which are simple.
This will necessitate a lot of hard work and hustling on your part. After obtaining financing for your feature film, whether through independent financiers, crowdsourcing (such as Kickstarter or Indiegogo), or a deal with a studio, your film has been approved, and you can proceed to the next step, which is pre production.
Although we cannot claim to have invented the 7 P’s of Production, we do our best to follow them.
Poor preproduction will eventually lead to poor production, which is not what anyone wants and is easily avoidable.
Essential members of your team will be recruited during preproduction. The most important new hires are the Director (if you haven’t already hired one), the Cinematographer, and the Line Producer.
The Director will develop his or her own vision for the script, and from that point forward, the ideas of all departments involved will revolve around the Director’s concepts.
The line producer is in charge of all logistical aspects of the production, such as negotiating contracts for all crew members and ensuring that the film does not go over budget. It is not uncommon for the Line Producer to serve as Unit Production Manager (UPM) during the shoot; the size of your production will determine this situation.
The final step is to hire a Filmmaker of Photography (DP), who will work with your director to ensure that their vision for the film is realized. It’s possible that the director already has someone in mind for the role of director of photography for the film (DP). During the project’s preproduction phase, the director of photography (DP) and director collaborated to create a shot list and storyboard for the upcoming film. It is critical for a director to both design and master the shot list in order to ensure that the filming process runs as smoothly as possible.
Other key personnel, such as the Production Designer, Costume Designer, Location Manager, and Casting Director, must be hired during the project’s preproduction phase. Preproduction can last anywhere from three weeks to three months or longer, depending on the amount of work required. Preproduction time is determined by the scope of the project.
The Production Designer is in charge of developing the film’s aesthetic and supervising the other members of the art department, including the Art Director, Set Designer/dresser, and Propmaster. Consider that if you are shooting a historical piece, the PD is responsible for ensuring that everything visible on camera other than the cast is accurate to the time period depicted in the film.
The costume designer is in charge of finding and creating wardrobe for the entire cast, as well as ensuring that the cast members are dressed appropriately for each scene.
When you go on site scouting trips with your Director, bring your Production Designer and Cinematographer with you. When it comes time to decide where the final operation will take place, they will be able to provide valuable insight into each potential location. The Location Manager will work with you to determine the best places for you and your team to visit. Depending on the location, they will be in charge of obtaining all necessary filming permits, acting as a liaison between the production and the production crew, and communicating with property owners, building managers, the general public, and nearby businesses.
It is also the Location Manager’s responsibility to ensure that the location is secure, that there is enough parking for the actors and crew, and that there is enough space for the generators and trailers.
The Casting Director is brought on board during the preproduction phase of the film’s production to cast all of the roles. They work with the director and producer to create a wish list of potential actors for the role. Furthermore, the Casting Director sends role breakdowns to various casting services and contacts management and talent agencies to set up auditions. It’s even possible that they’ll work out deals with actors.
Production in its Early Stages (shooting)
You should be in a good mood now that you have completed the following steps: you have finished writing your script; you have fully cast your film; you have booked all of your equipment; you have locked down all of your locations; you have hired the remaining crew members; you have completed your story board; and you have mastered your shot list.
You will also be in charge of hiring a First Assistant Director, also known as a 1st AD, during the preproduction phase. This person will work with the Director and the Line Producer to create a shooting schedule. The most effective way to ensure that your set runs smoothly and that you don’t end up rushing around frantically is to give each department adequate preparation time.
The first assistant director is in charge of managing the set and ensuring that everything runs smoothly during production. The 1st AD’s responsibilities include ensuring the set’s safety, ensuring that all departments are productive, and keeping track of how much time each department requires in turn.
Being a first assistant director necessitates quick thinking on your feet and the ability to solve problems. Because the 1st AD can also have an army PA, it all depends on the length of the film. Unless specifically assigned to another department, the PA Nation, also known as production assistants, reports directly to the AD and works alongside them.
The 2nd Assistant Director’s responsibilities include creating daily call sheets and ensuring that talent reports to set when needed. The 1st Assistant Director and the 2nd Assistant Director collaborate closely. This includes ensuring that the talent has completed the process of getting dressed, applying makeup, and being camera ready.
The script supervisor is in charge of ensuring the continuity of the film. This individual sits directly in front of the monitor, next to the director. The scripty, also known by its nickname, is the person who adheres to the script and keeps track of any changes made during filming. They also check the axis and eye lines during each take and pay close attention to the nuances. Furthermore, the Script Supervisor will consult with the Camera and Sound Departments to ensure that the slate has been accurately transcribed. Every day, just before the shift ends, production reports and editor remarks are compiled and organized.
The majority of indie films shoot four to five pages per day.
They may even capture more footage if the budget is extremely limited or sequences need to be rearranged. It is not recommended if you do not need to film more than five pages in a single day, unless you want to pay for overtime or have a frustrated crew. Every day, major motion pictures shoot two or three pages.
Each member of the crew is critical to the production, including the Gaffer, Grip & Electric, First Assistant Camera, Second Assistant Camera, and Sound Mixer.
The gaffer is in charge of the lighting on set and collaborates closely with the director of photography (DP). It’s even possible that the DP will request him or her ahead of time.
The Key Grip is in charge of all lighting and rigging equipment and collaborates closely with the Gaffer and the Director of Photography.
Crew members can also “swing” between the grip and electric departments. These members of the crew are frequently referred to as “best boys.”
The first assistant camera, also known as the AC, is in charge of pulling focus. They also build the camera and change the lenses and accessories needed for a variety of images.
The second assistant director is in charge of marking each take on the slate, keeping fresh batteries on hand, swapping out memory cards, and collaborating closely with the first assistant director.
On set, the 2nd Assistant Cameraperson (AC) may also serve as the Digital Imaging Technician (DIT). All of your priceless footage will be loaded and saved onto individual hard disks in a secure location by the DIT. They may also be in charge of onset color correction and film preparation for the director to view at the end of the day (dailies).
All sound in the production is recorded and captured by the production sound mixer. On smaller productions, the Sound Mixer may even double as the boom microphone operator while mixing the audio. The majority of people prefer having a separate Boom Operator who stays onset so that the sound mixer can focus solely on mixing the audio.
After the primary photography is completed, the project will enter the Post Production phase. It is time to call in the editor, composer, sound designer, music supervisor, visual effects artist, and colorist.
The post-production process can be time-consuming and exhausting at times.
If you budgeted your film correctly, you should have enough money to cover the post-production costs.
The director and editor will work closely together to select the takes that they believe are the best. It is possible to hire a post supervisor to oversee the post process and ensure that everything runs smoothly.
The editor will use the script supervisor’s comments to guide them as they work their way through the mountain of material. I sincerely hope you will not have to reschedule any of the shots or change any of the dialogue. This has the potential to be very costly.
The next step is to color correct the film after you have assembled a rough cut, created an original score, or acquired the rights to use the music of your choice. It is best to run some tests on the film before committing to the final image.
After you (the producer) and the director are satisfied with the final product, you can promote it aggressively and submit it to film festivals. If you already have a distribution agreement, you are one step closer to recouping your financial investment.
There are numerous channels through which movies can be distributed at the moment. The film is what you intended to make, but it is what you actually made. This is an important point to remember when going through the film production process. It’s possible that the project will not turn out exactly how you envisioned it, but it’s more likely that it will be slightly different in some way, for the better or for the worse.
YLO Production’s Approach
You won’t find quick and cheap here if that’s what you’re looking for. Our premium stills photography agency is guaranteed to satisfy you and can be tailored to your exact specifications. To suit any need, we offer a range of photography and design services. Whether it’s print, web & e-commerce, or display ads, we also have the know-how and the imagination to make your product stand out from the crowd.
A discussion is where it all begins. We need detailed information about your requirements. What your vision entails, how many photos, and where they are going? For a formal quote, we will ask a number of questions, including those listed above. We’ll be able to purchase the item once the price has been agreed upon.