Filmmaking / Directing : Crew size by Jake Mertz

It all depends on what you are trying to shoot. I've worked with 2 people before, then use my actors as crew...

I want my first short to be an action movie, because that's what I like most. I'd want to shoot from multiple angles, so that's at least two cameramen. Other then that, I'm not sure what I should have, crew wise.

I'm a huge fan of action films. I have shot several shorts, with only 1 camera! If you have a clear plan on that, you can shoot it with 1 camera. Sound Guy, Gaffer... and just use your cast to help out with anything else

No reason why you can't shoot with three of four people total. No reason why you need two cameras to shoot an action movie. The minimum crew I would suggest is: DP/operator 1st AC 1st AD script supervisor gaffer dolly grip/key grip 3 grip/electric makeup/costumer set dresser/props audio recordist boom op craft services/caterer This makes for a professional, smooth shoot where every aspect is covered. But you do not NEED that many people. If you want the cast working as crew as Ray suggests, you can do that. So take a look at the list and then take away the positions you know you can do without.

Thanks for the crew list. I want to have all my bases covered, since I'm so inexperienced. I'm hoping that if I can put together a good crew it'll help make up for some of it.

It's more a matter of who are the core people getting paid on the front side. Everyone else is expendible or replaceable at any location. Director, Cameraman, and Audio/Visuals (guy that's watching the monitors and boards, making sure you do get a good level and a copy, playing it back so the director can see if someone wore a blue cowboy hat riding through the middle of the scene.) you are paying. If you start breaking out individual mikes, etc. you start adding. Costumes, hair, props, boom, etc. you are "paying" with a percentage on the backside, or with "extra" money that comes 90 days after distribution.

It also depends on your budget. I personally wouldn't pay someone to be a 1AC.... Their purpose is to change lenses for the DP.... The DP can change his own lenses. If you get a DP who can also gaf, then you wouldn't need a Gaffer. There are so many examples, it really comes down to trial and error, see what works for you and what doesn't. Good luck!

From an actors point of view, I have worked with small and large crews - and most of the time they work. I would say once you've worked out what roles you would like filled that the personality of who fills them is really important though - I've worked on short films where the crew were rude, unhelpful and in some cases, just kind of creepy - it put me on edge and I wouldn't want to work with them again - you need a crew (from my point of view) who will make the actors feel at ease. Equally as important I would say is when you audition your actors, keep an eye out for divas - they are just a nightmare to work with on a small films, and will make the rest of the cast uncomfortable and not perform to their best. I am of the mind that no matter what the film is - be it large, small, with a large budget or no budget at all, there is no reason as to why the actors can't offer help, if they see a point for them to be useful. Just my personal opinion - hope it's helpful!

That's interesting, Ray. I have always used the 1st AC to handle the slate, pull focus, changing batteries, keeping the camera clean, ensuring proper iris settings and on small crews moving the camera for each new set up. To me, a very important person even on very low budget shows with small crews. The AC allows the DP/operator (and often gaffer) to put more time into lighting and getting the shot than all those, much needed, things.

dont scrimp on sound - you need a recordist and a boom op. you want the recordist concentrating on what he is hearing not worrying where the boom, thats what the boom op is for

Rik, you are absolutely correct. I guess it depends on what camera you are using. Since I'm my own editor, I don't waste time slating. Also, when I'm not in a scene, I operate my own cam.... There are too many scenerios to give an accurate description of how many crew members you need.

Since I, too, am my own editor I need the slate and the scripty more than ever. It save me hours in post and saves time on set. I can't imagine slating each scene as wasting time. And I, too, sometimes operate the camera. In that case I find an AC even more essential to the speed of production. No way am I good enough to pull focus and operate while I'm also watching all the things a director needs to watch. You are considerably more talented and skilled than I am. But each filmmaker has their own method. As I said, it's interesting to learn about how each filmmaker approaches a shoot. I feel the minimum crew needed for any scenario is the 14 I mentioned. But a movie can be made with two people - somebody behind the camera and someone holding the boom.

Hahaha! I wish that I was that talented! I'm more hard-headed.... I don't like being told that I "can't" do something. And I don't jump the bandwagon trends... (Still a Bucs fan, and refuse to use DSLR's for making movies!!!!) I am in pre-pro on a feature that I wrote, and was told I could use a RED Scarlet, but I decided not to use it. For the 13 day shoot, it takes too much time in between each set up. Instead, I am using a JVC 3ccd camera! How's that for stubborn!!!!!!! LOL!

I'm a long time JVC user. Love their pro cameras. And I've had nothing but problems with the Scarlet so I'm with you on that. Always interesting to hear a different perspective. I have never thought the using an AC was jumping on some bandwagon trend. It's nice you have found a method that works for you. How many crew are you using on your feature?

Here is our crew and their roles in our feature: 1. Writer/Director- Me, also the lead role, Producer, Editor, and Special FX ( I have also been building sets and securing locations) 2. Producer - will also be an actor 3. DP - Operate Cam, and Lighting 4. Grip - Will help with Lighting and also one of our lead Actresses 5. Production Designer- Also our on set photographer and graphic artist 6. Audio/Boom - That's their only job! LOL! 7. Hair and Makeup - Special FX makeup and behind the scenes videographer 8. PA's - Whatever needs done! As far as slating, since I'm editing, I know where all the footage is and don't need slates. ( Audio guy will call out what "clip number" prior to calling action. I'll take those cues in editing. Script supervisor, I can get a PA to "call out lines".... I really don't need someone to take notes on what take I liked... Since I'm directing and editing, I'll view all the footage anyway.

I'd get the DP to pull in their own crew - they're likely to have people they trust and who might be willing to do them favours. And I'd definitely get a separate sound recordist - I've messed up there before and got nice pics spoilt by sound errors.

I've worked on a shot before where they didn't think they needed a Scripty... Luckily for them, I was there on at least some of the shoot days. I caught at least one MAJOR (what should have been glaring) continuity error. Everyone has to be on their perceptual toes for this to not be a key position.

The answer is as always "it depends". What's your budget? How many actors? How long are the shorts? How much dialog? How many locations? Interiors or exteriors? Do you have a shot list? You need to break down your scripts and do some planning based on the breakdowns and develop a plan that includes a budget and a schedule. Then you can start making rational decisions about what crew is needed.