17 blog posts found matching keyword search for: Video Equipment Insurance in Westmont
There’s nothing more exciting than working on a movie. However, just like with all interesting jobs - there are plenty of details that are not as glamorous as you may think. For example, when you’re traveling with a film crew, there’s a lot of film equipment to transport to different locations. Plus, we’re usually talking about equipment that’s pretty expensive and not easy to replace. With that in mind, you need to take all the needed precautions to prevent any damage to the film equipment in transit. After all, the last thing you need is to face gear replacements on set. So, if you’re going to be packing and relocating film equipment - we’ve got a couple of tips for you!
Let me tell you a short story. When Quentin Tarantino was working on The Hateful Eight, they rented an extremely expensive 145-year-old guitar for the purpose of shooting a scene. In that particular scene, Jennifer Jason Leigh's character was supposed to play the guitar, when Kurt Russel's character snatches it and breaks it on the floor. The idea was to cut the scene at the right moment, replace the guitar with a fake, and then break the fake guitar. However, that was not communicated properly to Kurt Russel, and the rest is history. As you can see, there are certain rules and tips for working with rented gear on your shoot. To prevent any similar mishaps, let's see what are the best practices you should follow.
When looking to produce a high-quality video, some people and companies experience sticker shock at how much one will take to produce. This is largely due to the ubiquity of video: because we see it everywhere, there's a misconception that it must be cheap to produce. But like most things in life, you'll get out of it what you put into it.
So you're a Director or Producer who trolls on Vimeo for creative ideas and inspiration. After weeding through a gazillion time-lapse and steadicam videos, you've hit on a school of ridiculously beautiful aerial shots. You keep telling your creative inner self, “We’re gonna find a place for this scene in a project!” Then the perfect project rolls around, and you put the shot into the storyboards and base another 3-4 shots on this visual hook because the ideas is so awesome. And you're super stoked. Then the Buzzkill happens...
Making any kind of film is time consuming and expensive. A large part of the cost comes from buying, or more realistically for a student crew with just a handful of people, renting high quality equipment. Not least because insurance could make the rental prohibitively expensive.
Unmanned aerial vehicles (UAVs) are taking over the skies. They’re being used for everything from “reality capture” (as detailed for businesses to sheer enjoyment by hobbyists. As regulations become clearer and equipment grows increasingly affordable and user-friendly, the production industry is taking up its fair share of the sky, too. More video crews than ever are certified to fly small UAVs for commercial purposes. For more on what this means for both production crews and clients looking to hire drone services, we talked to Ryan Goble, Senior DP and FAA-certified drone pilot at Running Pony.
Asking how much to budget for a video production project is like asking how much to budget for building a house. A house can be built for $100K or $10M or anywhere in between...it's all in the details. Likewise, the creative and production value of a video can drive the budget of any particular project. Oftentimes, many businesses have to work within a limited budget to shoot a video that has high-quality production value and effectively engages with an audience.
Whether you’re self-employed or part of a studio, being a filmmaker and camera operator requires a lot of investment. You’re investing time into finding work, energy into getting projects off the ground, and money into the equipment that helps you do your job. For more independent filmmakers, that last one is arguably the most important — and costly.
Though it’s clear to everyone that the COVID-19 saga is going to drag on for a while yet, there’s certainly light at the end of the tunnel. Vaccination efforts have been going fairly well, all things considered, and lockdowns (while frustrating in so many ways) have been slowing the spread enough to keep hospitals going. Furthermore, we’ve all become so accustomed to the demands of this era that mere hints of normalcy feel extremely refreshing.
In indie filmmaking, overpreparation is the key to success. But as a first-time filmmaker on “Alvin,” there were unavoidable pitfalls that I encountered simply because of my lack of knowledge. While everyone's experience will be different, I hope that my 20/20 hindsight can be helpful to other independent filmmakers.