Budget and resources for a micro-budget short

Every creative decision in the look book has a cost, and a capstone budget is small. This lesson shows how to build a budget for a micro-budget short, how to find equipment, locations and crew without much money, where funding and in-kind support can come from in Canada and the United States, and how to protect the production with insurance. All money figures here are illustrative. Prices vary widely by city, program and year, so always get current quotes. The goal is not to make you a producer, but to give you the numbers a cinematographer needs to argue for the right equipment and to make sensible trade-offs when the money runs short.

The DP's role in the budget

On a capstone the producer usually owns the budget, but the DP shapes a large part of it: camera, lenses, grip, electric, data storage, expendables and sometimes the grade. A DP who can put numbers to their requests is far more persuasive than one who simply asks for "more lights".

• Prepare an equipment list with quantities and the number of days needed.
• Get at least two quotes for anything you rent, and ask about student or weekly rates.
• Show which items are essential and which are wish-list.
• Offer cheaper alternatives for each wish-list item.
• Track spending against the budget during the shoot.

The budget top sheet

Budgets are organized into above-the-line costs (story, producer, director, principal cast) and below-the-line costs (crew, equipment, locations, post). A top sheet summarizes each category on one page.

Two lines surprise first-time producers. Food is often the largest single line, because feeding a crew and cast well is the cheapest way to keep morale up when nobody is paid much. Contingency is not optional: something always goes wrong, and 10 % is a common minimum.

Equipment: program kit, rentals and in-kind support

Most programs lend students a camera package, basic lights and grip. Use it first. Then rent only what the look genuinely needs.

• Ask rental houses about student rates, weekend rates (often one day's charge for a Friday-to-Monday rental) and weekly rates.
• Some rental houses support student films with discounts or loans in exchange for a credit; ask politely and early.
• Local film co-operatives often rent equipment to members at low cost.
• Borrowed equipment needs insurance just as rented equipment does.
• Check every item at pick-up against the order and photograph its condition.

Locations and permits

Locations can be free, cheap or expensive. Friends' apartments and family businesses are common, but treat them as professional locations with a signed agreement, a clear schedule and a clean-up plan. Public spaces usually need a film permit (Lesson 5).

• Ask for a location agreement even for free locations.
• Budget for a small thank-you fee or gift and for damage protection.
• Include parking, holding areas and power in the location cost.
• Student permits are often cheaper or free; ask the city film office.

Food, transport and the hidden costs

Hidden costs sink micro-budgets: parking tickets, fuel, extra hard drives, gels and gaffer tape, last-minute props, a replacement for a broken stand, a second day for a reshoot. Put them in the budget from the start.

• Expendables: tape, gels, diffusion, batteries, clamps, cleaning supplies.
• Data: at least two drives per copy of the footage, plus a cloud or third copy.
• Transport: van rental, fuel, parking, tolls.
• Food: meals, snacks, water and dietary needs for every shoot day.

Funding and support in Canada and the United States

Capstone films are mostly funded by the team, the program and small grants, crowdfunding or in-kind support. Larger public funds usually target professional emerging filmmakers rather than student projects, but it helps to know the landscape for your next film.

In the United States, emerging filmmakers usually start with the following kinds of support. Check eligibility and deadlines on each organization's current pages, because programs and amounts change.

• Local film collectives and media arts centers offer low-cost equipment, workshops and sometimes grants for members.
• State arts councils and state film offices may have small grants or support programs; state film incentives usually target larger productions.
• The National Endowment for the Arts funds nonprofit organizations rather than individual filmmakers, so individuals usually reach that money through a nonprofit partner.
• Fiscal sponsorship lets an individual project receive tax-deductible donations and some grants through a nonprofit sponsor such as Fractured Atlas, the International Documentary Association or SFFILM; sponsors charge a fee, usually a percentage of funds received.
• Festival labs, foundation grants and pitch competitions support emerging filmmakers, mostly after a first short.

Crowdfunding is common for capstones. A small campaign aimed at friends, family and the local community can raise enough to cover food, insurance and festival fees. Budget for the platform's fees and for any rewards you promise.

Insurance

Insurance protects people, equipment and locations. Many programs have a policy that covers student productions; read it carefully to see what it includes. Rental houses and locations usually ask for a certificate of insurance naming them as additional insured or loss payee.

• Commercial general liability covers injury to third parties and damage to their property.
• Equipment coverage protects rented and borrowed gear.
• Workers' compensation or accident coverage protects crew; rules for volunteers and students vary.
• Errors and omissions insurance covers legal claims about content and is usually needed only for distribution (Lesson 5).
• Short-term production policies for independent shorts can be bought for a few days.

In the United States, workers' compensation rules are set by each state, and treatment of volunteers and interns varies. Programs often cover enrolled students under institutional policies; check before bringing outside crew.

Tracking costs during the shoot

Keep receipts for everything and log spending daily in a simple spreadsheet. Compare actual spending to the budget for each category at the end of each day. If a category is running over, decide early where the money will come from, usually by moving it from a category that is under budget or from contingency.

Negotiating with rental houses and suppliers

Rental houses and suppliers deal with students every season. A professional approach gets better results than asking for favors at the last minute. Contact them early, explain the project in a sentence, send a clear equipment list with dates and ask what student rates or packages they offer. Be honest about the budget; some houses can suggest cheaper alternatives that do the same job, such as an LED panel kit instead of a tungsten package. Pick up and return on time, return everything clean and in its case and report any damage immediately. If they support the film with a discount or loan, credit them correctly and send them the finished film. A good relationship with a rental house is one of the most valuable things you can build early in a career.

• Contact suppliers at least two weeks before the shoot.
• Send a clear list with quantities, dates and the production's insurance details.
• Ask what alternatives could meet the need for less money.
• Return equipment clean, complete and on time.
• Credit and thank supporters and send them the finished film.