You need to be very careful that you don't start to get a name for yourself for being 'cheap'. As you say it's your 2nd feature length project and you want decent people - so really you do need to pay them.

I don't do movies, but I do do shows - and I always pay. Often people know the money is not going to be the full rate, but if the full rate is impossible, then I'll try to pay as much as I can, plus food and extras. If you pay expenses, then friends might still participate, but you have to put up with losing them if a paying job comes up, so this makes logistics difficult.

If the finances are that shaky - is it fair to ask others to share in your loss? If you suddenly generated lots of funds because somebody picked it up, no doubt you have an agreement to pay them what would have been due - but if the chances of this are remote, then it does burn up friends quickly.

Getting funding can be an arduous and potentially lengthy process, but if your project isn't good enough to get funded or for you to fund it sufficiently on your own, what vote of confidence is that to the people you're asking to work on the project at the free or reduced rate?

I know a number of pros who have one rate for corporate work and a lower negotiable rate for narrative work simply because they do recognize that it's a challenge to budget indie film, and they like adding to their reels... but the good ones generally still don't work for free.

And, in the situations where you do work people for free, burnout and alienation become real issues.

Not to keep picking at the same raw wound, but I mean there are situations where people signed deferred contracts, the movie made money, and they STILL got screwed. My point being that most crew people are not impressed by the offer of points/percentages, especially since it's so unlikely that anything anyone does at the low budget/no budget level goes anywhere.

Obtaining "real" funding for any film project is a very part of doing business as a filmmaker. Learning to write a proper treatment and proposal as well as making a pitch for your movie are skills you will need if you are going to produce your movie. There are a lot of books as well as websites that are dedicated to producing a movie.

I'm a member of a film coop based here in San Francisco so getting experienced crew members is something that can be available when I need it. Here's a link to the organization:

Home Page | Scary Cow - the indie film co-op (http://www.scarycow.com/)

I don't know of any other coops like ours but if you could find one in your area it would be more than worth it to join. For Scary Cow we pay $50 a month and that all goes toward operations costs, helping to supplement classes which we can take at a very low cost (like $65 to take a seminar on cinematography taught by Jacques Haitkin), and to provide funding for projects which we as the members decide on. As a collective our members are now onto making their 4th feature and one had actually gotten a national release (it was a documentary). We tend to make shorts that are screened once every 4 months in a theater so I've actually gotten to see my movies played in a theater. Last round one of our members (and his team) made our first 3D movie which turned out great. If you can find something Scary Cow in your area I'd check them out for resources.

Yes, there is a You help me and I'll help you mentality but it is great and keeps all of us busy. Right now I'm producing a feature doco, a short, DP'ing another short, and providing stunt coordination on another film. So I'm really busy but it's a great way to hone your craft as well as get some great material for your reel.

-Garrett

All excellent advise. Thank you again for your input!!!

If I don't pay a reasonable rate, it is definitely be harder to find people. I'm experiencing that right now. It's harder, but not impossible. And I am finding good people. I believe I have 2 already. That's a start.

Motivation comes from me. If I can't sell my vision and get people to buy into that vision, then I should quit. Give up. Take the easy road in life. Go to work, come home, eat and sleep. Why even risk my own money doing a movie? Or my time?

I'm not looking for hired guns, which I'm sure most of you fall into this category. I'm trying to build a team that can successfully create a great movie. This isn't the "Sean Cloutier" show, it's a team effort. The people that help make it a success will be part of my future projects. Why would I want to change a winning formula?

Burn out is the extreme lack of motivation. If people start to burn out, they will definitely leave. I don't push people, I inspire people to take a chance. I realize these people are risking their time, and time is the most valuable thing we posses. Burn out is a possibility for anyone, even me. But I don't quit. I finish what I start. I'm looking for like minded individuals.

Worst case scenario... the movie doesn't sell. Guess what? Everyone has the experience of working on a feature length film. They will know much more about their craft. Valuable experience.

I'm not trying to use people for my own gain... I'm trying elevate a team so we can put out an awesome product.

I have experience in China. Going to Beijing and Shanghai on the first week of April for 10 days. Let me know if it can coincide with my schedule so that I can arrange to spend an extra day in that province.

Sorry Cynthia.

I just flew back from NYC after completing the assignment.

Fortunately, a guy I worked with years ago has relocated to Manhattan and he crewed for me.

Perhaps next time. Thanks for your interest.

We have found a company that can make the job for us.
Case closed.

Bjorn

Sean i respect what you're trying to do after all it wont just be handed to you. I've been down the road you're on , a couple of film school friends and I gathered a crew and actors together in 2003 and went straight for the feature length film skipping the "short film" route, in hind sight it was a mistake because i think a few shorts would have prepared us better. As a lot of people have said with unpaid work your crew will be inexperienced and unfortunately it does show in the final film.

My experience with indie films as a DOP has made me very wary of other indie filmmakers, iv worked on quite a few when i was still in my enthusiastic "i'll work on anything" days and with most of them you turn up to a badly orginised shoot with a broomstick for a boom mic and the worst actors you've ever seen. I know that sounds harsh but thats what you're up against when trying to find compitent crew for no pay....they've seen too much!. Now i don't even entertain unpaid work because i know its a waste of my time unless they show me something solid that changes my mind. I've been on both sides of the hiring gun and frankly id be embarassed to ask a pro with all his gear to work for gas money and in turn as a freelance camera operator it annoys me to see adds like "must be diverse experienced, creative and own all his own HD gear" and you look down to where it says "unpaid". I mean why not stop there, we could post adds like "experienced painter with own brushes needed to paint my house ,must be enthusiastic and be willing to work for expenses". I know thats not what you personally are doing im just saying that is what pros think when they read rediculous adds like that (at least i do).

However if i was approached with a well scripted well orginised proposal i would still consider shooting a promo to see how it went which is where my advice comes in...get yourself well prepared and advertise for a promo shoot first, have your shot list and schedule down so your setups are as efficient as possible. That way you may attract more experienced crew members because they'll be thinking "hey i love the script and if it turnes out to be crap i havn't agreed to the feature". Your job then is to run a properly orginised film set and make them believe its not crap so they stick around for the feature.That also swings both ways, you get to see how the crew work and you can replace people who don't pull their weight. And you get a nice promo to show investors so its a win win situation. Then you trot off with your promo, script and business proposal to funding bodies, granted film funding bodies are hard nuts to crack but you have to go to them first to write them off the list if nothing else. Then you hit the rich people, i think Sam Raimi went round dentists houses with a bed sheet and a projector to fund evil dead....of course he didn't have youtube!. Drum up some hits and comments and if its meant to be then someone will show an interest, invest and you can pay your crew. If its not meant to be and nobody shows any interest you'll know if you're flogging a dead horse, and half the battle is knowing when to quit and move on.

We're currently preparing our third feature film to be shot on the RED and this time there's no more messing about, we have Northern Ireland screen who have agreed to put in 15% (£315k) of a £1.8million budget. Of course we still need to raise the other £1.5million from investors (minor technicallity :) but with an orginisation like NI screen on board for 15% it should be more attractive (in theory), another benefit to having a funding body involved is their advice and contacts with accountants, lawyers, distributors etc etc. We're aiming high with this one so if we don't get the funding the film wont get made baecuse not hiring professionals is not an option. To give you some idea as to what professionals cost, my crane operator with his 33ft jimmy jib and 360o pan tilt head costs £25k for a nine week shoot.

I guess its a ladder you need to climb and not many people have the drive or the capitol to sustain the long years it may take to make it....our film may still fall flat but its the closest we've come yet, if you dont give up you just keep getting that little bit closer. You sound like you have the drive so all i can say is stick at it and prepare yourself, you need those first films to hone your skills even if they just end up on your own shelf.

Good luck finding crew.

Andy.

I need to clarify here, I am looking for shooters who specialize IN WEDDINGS! Please do not contact me and tell me you are interested, but don't work on Saturday.

I'm not looking for hired guns, which I'm sure most of you fall into this category. I'm trying to build a team that can successfully create a great movie. This isn't the "Sean Cloutier" show, it's a team effort. The people that help make it a success will be part of my future projects. Why would I want to change a winning formula?

Burn out is the extreme lack of motivation. If people start to burn out, they will definitely leave. I don't push people, I inspire people to take a chance. I realize these people are risking their time, and time is the most valuable thing we posses. Burn out is a possibility for anyone, even me. But I don't quit. I finish what I start. I'm looking for like minded individuals.

Worst case scenario... the movie doesn't sell. Guess what? Everyone has the experience of working on a feature length film. They will know much more about their craft. Valuable experience.

I'm not trying to use people for my own gain... I'm trying elevate a team so we can put out an awesome product.

I see this "Build a team" speech all the time on craigslist. Now, I am a "hired gun" as you put it - but even as I was coming up from my student days, those words red flagged a project as something to avoid.

Some people make films as a hobby because its fun. And some people make a living at it and pay their bills that way. Most film and video students intend to make a living at it. Do we enjoy our jobs? Yes. Do we like to work with the team of people we know and like? Of course. But even if we're not getting paid today, the objective is to "make it" in the industry, and be able to pay our bills with this job.

To that end, we tend to be far less interested in someone who offers us a teambuilding experience than someone who can demonstrate why their project will be commercially successful. That means the script, the actors, the equipment, the other secured members of the crew, and yes - the funding.

Burnout is real. Lengthy indie unpaid features can have a lot of crew turnover because people burnout or prioritize their own life, show up late, or manage to book a "real" job that pays. Turnover destroys efficiency, and depending on who's providing the gear, can even cause larger logistical problems for the production.

Anycase... motivate people with money, a good script, good actors, good gear, good locations, and good crew to work with. Don't try to use "teambuilding" as a motivator.

You talk about building a team and then working with them on the next feature. The fact is, that may work with the hobbyists, but for the people who actually do this for a living (or want to), we put your job in our reel and resume, and we move on. If we get a chance to work with you again, that's nice, but really, we'd love to be booked up by the time you call again.

I've read and re-read all the comments. I never expected this discussion to be as fruitful as it has, so I sincerely thank all of you for your feedback.

The re-occurring theme is "the more you pay, the better quality you get."

Soooo... in any good story, the "protagonist" (me) goes through a change in character by the end of the movie. This transformation is based on the interaction with the "antagonist" (you guys :-) Of course one may argue who's the hero in this story.

My transformation is to e-evaluate my budget and see what I can reasonably "pay" for a crew. It wont be much, but hopefully this will help keep them til the end.

Andy, it sounds like you are actively perusing your goals. carpe diem! It doesn't matter if you or I make a great movie, because in the end, it's really about the journey... and today I feel alive.

Take Care,
Sean

Obviously James, I'm not interested in working with you and your attitude.

You are what I call entitled. I bet you're one of those people who sit on craigslist and flag the post for removal. BECAUSE YOU BETTER RESPECT MY AUTHORITI! (please use a cartman voice when saying this, it works better).

This post, as well as yours, adds nothing to the thread. It's ego's talking, nothing more.

Good luck, and if I ever meet you, I'll offer a hug.

Sean

Grumpy pro's asside :) id keep up what you're doing Sean, go to the film schools find filmmakers at the same point in the journey that still have the sparkle in their eye. You never know you may stumble on the next bruckheimer or Andrew Lesnie and make the next indie classic. Enjoy the little budget stuff like i did, i think if id had a team of pro's and a million bucks on my first film id have had a heart attack!

Now that i have a real opertunity to film a large scale movie im a bit terrified because iv never ran a camera department full of pro's before. But all you can ever do is be as prepared as you can and pray to god the weather stays nice.......and im in scotland so im doing a lot of praying.

Andy.

Sean,

Your earlier posts made it very clear what sort of crew you would like to find and who you would like to work with - energetic, open minded, talented, preferably experienced, team oriented people who are passionate about film making but who aren't looking for a paycheck, but are just in it for the experience and comradery.

What I was trying to express - and perhaps did a poor job of - is that I don't believe that that crew actually exists. At least, not as a package deal. It certainly, in my opinion, doesn't describe the majority of those of us working in the industry, or aspiring to do so.

I certainly don't try to be antagonistic on this board - you asked "How to best attract an indie film crew" and as a DP who's worked on four features (the latest of which is in pre-production), and several shorts, I gave you my honest opinion garnered from these experiences. The majority of the crew members on those shoots were either volunteers, working on deferred pay, or low pay. In some instances, as the DP, I was the *only* paid crew member.

As such - I've been privy to the crew morale and performance in those situations. Generally, the crew starts very eager and energetic, but as the shoot drags on, that doesn't always remain the case. Feed your crew well, always keep your promises, and don't tell them it's a 6 hour shoot, then extend it to 12, and you'll likely do fairly well - but you're still limited in efficiency by the experience of the crew. Depending on how ambitious your script and shooting schedule is, this could be disastrous, or just an occasional minor hiccup at worst.

I've earnestly attempted to answer the legitimate question you posted - I'm sorry if it's not the answer you wanted to hear. I'd like to think that doesn't exclude it from being a legitimate part of the respectful discourse on this forum.

Andy, you will do well in your current endeavor. Trust that you will make mistakes. As long as you get up, dust off your knees, people will follow your lead. btw. Sorry, my earlier post was addressed to you (I went back and changed the name, sorry for the confusion).

James, I guess I read it as "you can't do this because...". You've provided valuable insight, so thank you again for your suggestions. Like I said, I'm trying to figure out how to pay my crew. You influenced this decision.

I'm glad to see that this discussion has come back around to mutual respect, good job gents. That's how we like to do it here at DVI!

I've had to immerse myself back into the world of uber low budget (and some freebies) thanks to my recent career shift and it's been more painful than ever. Not so much for me--while I have a mortgage and plenty of expenses to cover and I know exactly what my worth is (being as I do get my rate from time to time!), but it's very, very hard for me to ask people to work for small to no peanuts having been in the business so long. I can't possibly pitch the youthful, wide-eyed enthusiasm "let's put on a show"! routine, but I am also unable and unwilling to try to sell anyone on the "we've got big stuff coming up--this and that deal is pending" BS. As Josh pointed out, the great way to do it is to find people who are moving up from their previous position, who are self-motivated and making the same sacrifices as everyone else. They don't need much encouragement. Where it gets hard is with the guys who regularly do that job for a living. I know that James and Sean have made their peace but I would like to touch on this for a second for the benefit of others lurking in the wings.

For many here, making films is a labor of love, even as they pay their bills with other kinds of jobs. For those who has chosen the film industry as their main source of income, it shouldn't be that hard to see why there is a healthy amount of suspicion and "attitude" about the idea of working for free. The primary reason for doing so is to make connections with people who you believe have a future. Now, everyone making a film believes that of themselves--but of course, statistically speaking there are more and more people every year making features that will go nowhere (along with their dreams and aspirations). So it's up to the individual worker to assess whether a given person or entity is worth the investment of their time and energy.

Here's what's amazing about the film industry versus nearly all others. Any of you guys ever renovated a house? I did it five years ago. Even though I had a contractor, I had to keep on top of him AND his subs day in, day out. They cut corners, they made mistakes and tried to hide it, sometimes they didn't show up at all. They were worse than some indie crews I've seen! (well, OK, I'm joking, but not completely...)But here's the thing: they were all making their wages. It is hard for me to imagine what they would have been like had I tried to pitch them on working for even 75% of their wages--and it's literally impossible to imagine them working for free. They would just look at me like I was crazy.

So now back to our fabulous industry, where the above scenario happens all the time. For the people who are involved on a creative level (director, writer, producer etc), it can be easy to lose sight of the fact that "we are all in this together" only goes so far, especially with more experienced people who do actually get paid to do what they do. It never hurts to ask, as long as it is done with respect. And once the job begins, any gesture that can be made to show your appreciation to the crew can go a very, very long way. You need to push everyone an extra hour to get all of your daylight shots in before dinner? While everyone is eating, stand up and make a brief speech thanking them for their hustle. Need to work everyone later than you had estimated? The producer should go around and speak to the department heads (or everyone, if the crew is small enough) and apologize, and ask if it would be OK to push the length of the day. Just about everyone I would want to work with appreciates gestures like this immeasurably. That's what builds true teams, and wins people over.

Andy, you will do well in your current endeavor. Trust that you will make mistakes.. Thanks Sean for the vote of confidence only time will tell if it is justified, and believe me mistakes will be made, i just hope they're not catastrophic ones.

Anyway id say you have your answer now, take it from Charles there, he's worked with more crews than most of us put together.

Btw Charles ive been on many a construction site and the tricks they get up to can only be described as comic genius, my dad and two brothers are architects..... and then theres me a filmmaker and musician.....i dunno what went wrong they must have dropped me on my head as a baby

Maybe you have this covered, but just to share my own experiences -

The key issue is the ability of the new indie producer/director to KNOW whom to select for his/her crew. Without experience, it becomes impossible to know the right person for the right job.

If you hope to find people for free, with enough personality and honesty, you will land the kind of people you seek. However, your choices will be so limited that you will most likely have to go for the one that looks the best. I have been surprised with my selection of both professional people and rank amateurs. A good attitude is something that anybody can have.

Here's an alternative strategy for your consideration:

1. Finish the script to a T - try posting it on a website like Triggerstreet.com and gauge responses. Don't fool yourself or let yourself be fooled. Get professional opinion.
2. Get your main casting done. Audition. Give everyone a fair shot. Forget about camera and crew completely. Conduct rehearsals for a few days and see if your script plays right. By this time, you will have also motivated enough people to be part of your project and have a concrete idea of how your film will turn out. You might discover you need to rewrite a lot. Do it.
3. Find an experienced DP and Sound Guy. Let them watch a run-through (a full rehearsal of your script from start to finish). If you're having trouble nailing people, then send them an invite to attend your rehearsals. Feed them. INVOLVE them. One of them (hopefully the best), will say yes.
4. I repeat again, sound is MORE important than camera for an indie director. Never forget that.
5. Get recommendations for a good production manager and assistant director. You will be flooded with offers. Choose wisely. Go for the attitude. Some people know everything but secretly wish they were in your shoes. You don't want those anywhere near you.
6. Sit down with your crew and draw up a realistic post-production budget, schedule, and release strategy. Take their inputs. Talk to distributors. Don't spend a cent until you have done this. Remember, once you hit the gas peddle and start production, there's no turning back. You can do this step while everything else is going on. Send feelers out. See what fish you catch.

If you have done the first six steps correctly, you will suddenly find yourself in an enviable position of having secured a great cast and crew (with whom you will share a great rapport), made yourself new friends, and at the same time work a little more to pay them when the time comes for production. The secret is to get people involved in the decision making process. Now you KNOW how to take the right decisions (at least as far as possible with your experience).

After that, your crew will worry about details like camera and microphone, etc. You worry about the performances. I'd rather shoot with great actors and a mobile phone than a red epic and plastic dummies.

All the best.

Video production and production rentals are based in Dallas, but I will go where the work is.

- Panasonic HPX500
- Panasonic HPX170
- Canon 5d MKII with rails, follow focus and plenty of glass
- Sony HDR-FX1
- Lights, jib, dolly and more.

Check out BigDigi LLC
BigDigi LLC: a creative full service media and production company (http://www.bigdigi.net)

I am working with a team that is very close to having a song finished that highlights the Gulf Oil Spill from last year as we approach the 1 year anniversary of this tragedy. It is a BEAUITIFUL song! We expect LARGE international attention with this song. The problem is, we are in Seattle and we need specific video shots of the Gulf coast as well as some shots of some of the people who have been effected by this. We have the ability to edit the footage once we have it. We just need some help getting the footage. We are going to be keen on good bokah and depth of field. Slow movement across faces. Dark and moody. The entire thing will be in black and white. Shots of oil and tar balls still on the beach. Boats up on blocks. Old shacks. Old docks. Sea birds soaring. We are in contact with several people that can help get you to where you will need to go to get these shots anywhere from Louisiana to the Florida panhandle.

We have little to no budget for this. This is all being done as a labor of love. Again, we expect a LARGE international audience with this song and video. If you are interested in getting some shots for us or if you have some footage that we might be able to use, please let me know. I can let you hear the song and you can see that this is a BEAUTIFUL song that has been carefully produced. It is TOP quality all the way. Thank you for your time.

There was a woman activist posting video on YouTube last year who might be a good person to contact. She likely has many contacts with footage. I think she was in Louisiana. Also, there were some people doing aerial gigapans of the beach areas. If you search on gigapan.org you may be able to turn them up and possible get access to some interesting stills. If you can't find it PM me and I'll see if I have some info in my notes from the gigapan conference.

I am trying to put together a proposal for a company where I may need to hire a local shooter to pick up a couple of out-of-state interviews. One of the locations would be in North Carolina (I'm not sure of the location in NC yet) and one in Boston. The finished video will be approximately 2.5 to 3 minutes and would have one person on camera delivering lines plus some other b-role. It's a corporate video so I may also need some pick up shots to use for cutaways, etc.

I would need you to shoot the interview and get the b-role and send me the raw footage which I will then edit. I am assuming it would be no more than a 1/2 day shoot. This would need to be shot in HD and you would have to provide all equipment including lights (probably would only need 2 or 3), camera, and audio equipment. I'd be looking to shoot in mid March.

As I said I am preparing a proposal now but would like to get some rough idea of how much local shooters would charge for this type of quick project. I would appreciate it if you could give me your estimate based on a half day shoot and if you are interested to be considered please send me a link to some examples of your work.

Thank you,
Garrett

1 day of shooting
1920x1080 P25
Copy cards and send to me with DHL.

Time: Should be tuesday, wednesday or thursday next week (9).

I need to rent a studio for an upcoming shoot. Its for a one person green screen shot. I am hoping to rent a studio that has its own lighting and teleprompter set up. I would like to have the shoot completed within the next 2 weeks and will be bringing a crew of 2-3 peple (includes the talent). Does anyone have this type of space available. Anything within a ten mile radius of Teaneck would be fine.

I don't know any studios in Teaneck, but how about Allendale? It's a few miles northwest of Teaneck near Ramsey. Just learned about them recently.
Here's the site:
Television and video production facility in New Jersey featuring green screen, jimmy jib, and drive in capable studios. (http://www.mediamixstudios.com)

Good luck with the shoot.

Looking to rent an AJA Ki Pro in Baltimore for this Sunday for an hour. Please call 410-701-0377 if you have one available.

Thanks Denis. I'm hoping to find someone that has a small studio that we can rent, as its only a one person green screen shoot. Thanks for the link, that place looks amazing,

If you live there and shoot DSLR email me thru the site.

No, I'm not flying any of you free loaders over from CONUS! ;P Sorry!

Send Ethan Cooper a PM.

Now are you positively positive you won't fly a free loader out from jersey.. in all honesty, its not that far. I've been there a bunch of times so I know the lay of the land and can help you navigate! ;)

Sucks to be a freeloader. We never get any breaks anymore.

Now are you positively positive you won't fly a free loader out from jersey.. ;)

Especially not from Jersey! ;P I'm pretty sure Hawaiian airport secirty won't even let you off the plane with a Jersey accent! ;P

I might be going up there around that time...what are you looking for?

Email sent to you at calvin@exposureproductions.ca

No Jersey accent here.. from part of the state where the accent is very little so I barely say any words strangely :)

Hi There,

I specialize in creating iPhone/iPad video-based apps that are instructional or travel based. I have over twenty in the store that I sell and have created dozens for other people, so at this point it is a fast and pain-free process.

I'm looking to partner up with some people that have some good content to create more apps. I prefer to split the proceeds 50/50, but can pay cash as well.

Thanks,
Dan
danmunk@gmail.com

I've got a project coming up in March that will involve a studio green screen shoot. I need someone with good experience and a full raster 1080 camera (4:2:2) to do this. Not sure yet about lighting, since we have not found a rental studio yet. Also probably need a sound guy. Please contact me with specifics and availability if interested. It will be a one day shoot if all goes well. I should have exact dates within a week or so, but we'll probably be shooting mid March.

Thanks.

stuart@windermerepro.com

Hi Stuart,

I sent you an email regarding the Chicago green screen shoot.

I did not receive it (checked my spam folder as well). Please send again.

Thanks.

Hi Stuart,

I just replied to your email that you sent through dvinfo.

Thanks,

John

Anyone located in the LA area?

Yep. What's up?

Alec Moreno
Wedding Art Films - Southern California - Los Angeles - Orange County - Video (http://www.WeddingArtFilms.com)

Just networking myself in here, got a 5DmkII with wicked glasses.
I'm really only available evenings, but that's not totally in-stone.

sorta close... and there are several LA area guys here... whatcha need?

LA area here too.

I have a bride looking for video July 23rd of this year. She wants to fly me from NJ but i'm already booked. Email me and i'll forward your websites over to her. Budget is $3-$4k.
MikeSimonsVideo@aol.com
I apologize if this site isn't meant for this kind of post.

I am in need of some footage like this too now! Have messaged Tito directly but if anyone else can help the more the merrier!
The brief from the theatre director is some tropical beach/sea scenes looking out to sea daytime and also same in the early evening.
Also a shot looking down from a hillside onto a beach village or similar both again daytime and evening shots.

If anyone can help that would be amazing. This for them to back project the images onto a theatre psyche for an amateur production of South Pacific at the beginning of April.

I offered to let them send me to Hawaii to film it myself but they declined… shame really

Thanks guys

Hi Wayne,
I'm in Thailand where there are thousands of exotic beaches and I'm sure I can help you that. What about filming with XH-A1s in PAL or what do you prefer?

Hi Wayz,
XHA1 in Pal is fine, better than fine in fact, it would be great! 720p would be big enough for this project. (and more easy to get to me from you!)

Thank you so much for helping. You OK with the shot descriptions or do you need any more details?

I think if you shoot about 5 minutes of each shot I could loop them if needed.

Just one thing, if there is a scene with an island in the middle distance anywhere near you, could you shoot that too please? That would become 'Bali Hi' fot the song in the show.

Many many thanks
I shall Pm you with my personal email address.