I'm Finally Making My Own Movie - "PAPER PLATES"

Great props so far! Is the clapboard made out of white board? (y) (y)

It was made out of whatever I had available in the garage, which meant some bits of pine and some decorative paneling. I cut both to shape and glued white construction paper on top of the paneling to paint the production details on. A sheet of PETG is fastened to the top of the paneling, the slate, so I can use it like a white board and easily wipe away the takes and whatnot, rather than waste gaffer tape. The hinges are just painted brass.
 
Here are a couple stunt builds of two of the main guns for my bank robbers, built over the last couple days.

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The "1911" stunt gets kicked out of someone's hand and I need something to toss around without risk of injury to the actor (getting fingers caught, etc) and damage to the building. It's built on a resin cast of my Luger used for one of the other robbers (their respective guns were originally swapped, and I had made a number of resin copies of it already). It's only gonna be seen briefly for the stunt so it only needs to just resemble the "hero" gun vaguely. Resin cast with gobs of Apoxie Sculpt and styrene for the flush surfaces.

The sawed-off stunt is just two lengths of pvc pipes, cut and hot-glued to bits of gardening foam also hot-glued together. The foam is sealed in three coats of Mod Podge, which does two things to it: seals the foam for paint, and adds some surface tension to better hold it together. There's a small strip of aluminium, a "tongue," taped to the underside of the hand grip up to the first third of the of barrels to, again, add some strength and rigidity to the foam. I've already partly snapped a section in the grip by playing with it too much, but serendipity intervenes, gaff tape was added to the "hero" sawed-off for better grip, and that detail was loosely replicated on the stunt to better hold the whole thing together. Now it's sturdy but light and soft enough to break first should anything happen, but rigid enough to toss around without completely disintegrating immediately. The shape was again adjusted to better conform to the needs of "stunt work."
 
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Not exactly something made today, but better organized while I waited for what I did actually make to dry. No heist movie is complete without money.

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Fake prop money bought from three different vendors, one of them the same supplier for "real" films. The supplier for the big movies, of course, win out. It's the right size, color, and bulk while the other two variants are a bit chintzier. They couldn't look more different in person in terms of color detail but they photograph very well together. The color of the money is subtly broken up and makes it slightly more distinct visually than just a homogenous color of green that the new bills come in.

Prop money is also surprisingly expensive. Only two of those bank boxes are filled with cash, while the other has copy paper inside it to pad it out. I have a number of other vintage bank boxes, too (glimpsed just to the side), just for set dressing, and while it doesn't make sense for my bank location to have them, it makes sense when it's seen....If that makes sense.
 
So, here's some more ancillary set dressing. Things not really important to the movie but just make help make the characters and world they live in feel more "real." These things aren't necessarily going to be seen up-close or really need to pass any scrutinization, so they can be a bit chintzy and dirty.

The false plates are styrene sheets you can pick up in packs at any hobby/craft store. Funny enough, they're all perfectly sized to match real license plates, they just had square corners. Cut them down, slapped on some quick paint, and applied mailbox sticker lettering (in very basic, unimaginative way) from the hardware store onto them---Boom! Done!

The registration stickers are real and come from my old plates from my own car. Iowa has this new ruling in place where plates need to be renewed every 10 years now, and having kept my old plates, they came with a collection of registration stickers I just kept adding over the expired ones. My goal was to build up the sticker collection so that it jutted from the plate like fridge magnet. That new law killed that dream but the collection found other uses. Shows that it sometimes works out hoarding crap!

To anyone not in the US or bad at US geography, Viola isn't a state in the US. It is, however, the village I'm shooting in and they're really doing a lot in helping me make the movie happen. I thought it only be fair to have the name of the place actually in some place in the movie as a nod to them and their generosity.

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These next few pieces are some of what the characters carry on them. The collar and key fob belong to one of the robbers. The collar is made from some junk I found; a sensor for garage doors or something, and a cloth strap for a project that never manifested (plus, one WannaWanga D-ring). The key fob is well, a real key remote from the Dodge Ram truck my stepfather had before he passed. It and the key fob are supposed to resemble a dog shock collar and remote and the fact it's made of junk is worked into the script. The bear was a last minute addition. I originally thought about using some small toys I had just laying around but, looking at it, I thought it should be something cute instead. I guess I was inspired by the bear toy on the set of keys at the end of Resident Evil 4. I made this little trinket quickly out of Apoxie Sculpt.

And because I can't use real brands, or have to hide the logos, in the movie. One of the characters smokes in the film, so I figured I'd make my own pack of cigarettes. Cigarette box templates can readily be found freely online. I did a quick-n-dirty job of the box art. If Tarantino has his Red Apple Cigarettes, I have my Caramel Sweets.

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Finally, these are the latest things I've made. I'm only just waiting on belt clips to arrive to finish them. They're obviously police badges for the county sheriff's department that handles the bank heist (the film is set in a very rural place). Quickly did a sculpt in Apoxie Sculpt based on the sketch I did on styrene on the left of them, and then cast a number of them in that crap resin you find at hobby stores (they have their place and I guess it's here), and cut the leather backings from a scrap of leather from, well, a bag of leather scraps also found at hobby stores. They're not going to be seen up-close, they're gonna be worn on the hips of the extras that are playing officers walking around in the back, so I didn't need to bother with refining and making them look flawless.

The leather, Apoxie, paint, and styrene I already had, so a number of the things made here cost me nothing.

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At the moment, I'm trying to calibrate a flowrig harness to see if I can't get it to properly stabilize my camera rigs to not bounce when I walk with it. If I can manage that, that gives me a lot of options for shot choices. Otherwise, I'm considering building a quick and dirty rail system for tracking shots.
 
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Love the props so far; you're using the "Poor's film maker" bag of tricks(y)(y) We used to get extras wearing clothes sewed with glue-gun and using a wheel chair for dolly shots; works well for sure ;) I still can hear my father's voice in my head: foreground, ground and background.
Different contexts and different levels of details! Loving where it's going:cool::cool:
 
Not much to post in terms of making things (beyond some janky DIY dolly) as I've been spending a lot of my time and effort filling out my cast. As of now, I've done that and have started sending out contracts to make it official. I've got a full cast and crew (albeit, very small) and am now working on figuring the individual costume pieces for the leads.

Beyond that, I've got a good lead on a source for police cars, I just have to keep on it 'round July and figuring out the schedule for everyone and my own shot list.

It's getting closer to the day to shoot and there's still mountains to climb. But a step at a time and I'll soon be finding another summit to reach.
 
Not much to post in terms of making things (beyond some janky DIY dolly) as I've been spending a lot of my time and effort filling out my cast. As of now, I've done that and have started sending out contracts to make it official. I've got a full cast and crew (albeit, very small) and am now working on figuring the individual costume pieces for the leads.

Beyond that, I've got a good lead on a source for police cars, I just have to keep on it 'round July and figuring out the schedule for everyone and my own shot list.

It's getting closer to the day to shoot and there's still mountains to climb. But a step at a time and I'll soon be finding another summit to reach.
Welcome to "The Club of Film Making":p(y)(y) Sometimes you feel like a grunt into the Vietnam jungle: machete in you hand, furiously hacking at the foliage:lol: Challenge after challenge!
 
...Challenge after challenge!

Boy, you ain't kidding! Ever since my call sheets were sent out, I've been dealing with "communication" issues ever since. I've had one actor suddenly drop out because he double booked an event during the shooting dates without letting me know beforehand; one of my featured supporting actor is getting cold feet because he kept a disability from me that limited his availability, and there have been issues communicating with a bunch of other ancillary contributors.

I wish I had more to post about in this thread, but all of my efforts have been towards wrangling and organizing the last things I need before the shoot in less than a month.
 
Boy, you ain't kidding! Ever since my call sheets were sent out, I've been dealing with "communication" issues ever since. I've had one actor suddenly drop out because he double booked an event during the shooting dates without letting me know beforehand; one of my featured supporting actor is getting cold feet because he kept a disability from me that limited his availability, and there have been issues communicating with a bunch of other ancillary contributors.

I wish I had more to post about in this thread, but all of my efforts have been towards wrangling and organizing the last things I need before the shoot in less than a month.
Yep...nothing new under the sun; especially when you're not a Hollywood pro:( As for issues of casting/communication, it's always a challenge to juggle schedules with people who have another day job and don't like to see their week-ends waiting an hour for the DP to make his mind about a set-up:D These are philistines at best:p
 
A little under one week before I start principal photography. Sorry, I've not posted anything prop-related since but there's few things left to build for the actors to use. Most of the work as been organizing and preparing the location for filming, and working where I can with the actors available. It's a mad scramble to get the last of the things I need ready to properly film the thing and for it to go as smoothly as possible.
 
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Wishing you the best of luck!

From my small amount of live action video experience, staying flexible was very useful. When things didn't go as planned, I looked for any improvement that might come from the new situation. Happy accidents is a real thing! A good edit can solve a lot as well.

I hope I have the opportunity to view your film when it is done!
 
Oof. That was an experience...

11 days. 11 grueling, awful, frustrating, days. Half of them I spent sleeping on my bed roll on location. I got some great performances and dealt with sub-par and genuinely awful ones. Things I wanted to avoid, I couldn't; things I thought I could manage, couldn't; this was easily one of the roughest and toughest experiences I've ever put myself through. I won't even get into handling the cast and crew. I stumbled my entire way through this, and in the second week, delegated some of my burdens onto some more "experienced" cast and crew to help me better organize and streamline the shoot. While it mostly worked, and we started moving in a brisker pace, the compromise to what I wanted to achieve was almost as great a blow to me as dealing with the general ineptitudes and incompetence of others. On top of my own inadequacies and inexperience.

I felt there was a general loss of gratitude, sympathy, and respect for me and the project as it went along. I was paying out my own pocket for everything and seeing people roll their eyes at me, "Yeah, whatever; it's your movie" when I gave direction or wanted to re-stage something drove me up the wall. I had a crew of five for most of the time and a cast of 10 on average and corralling them all was a monumental task.

Had I the option of remaking this movie with triple my budget and 2.5 months to do it, I'd take it up in a heartbeat. I don't think what I got is a complete loss, some of it is genuinely good and everyone had complimented what I wrote, and what I managed to pull together on my own. I just wanted to avoid "it's good for what it is" trap and it seems that's all this was going to punch at. I wanted more. So much more for this. I'm missing 9 shots because I was out-ruled by my own cast and crew and now I have to manage cutting around that. Simple things that would've tied things together. Even orders to make everyone look sweaty and hot for some shots weren't done because of neglect and incompetence. I won't say that I hated doing this, but I did have a very hard, difficult, and mostly terrible time.

I said in the end that everyone would come to hate me, and they did. I was wanting to do good work; the rest, they were just wanting to have have fun. They all suffered with me, and they gave me what I asked for when I stepped in directly myself, but I tried my best and I got what I need to cut something together but, man, what a gut-punch of an experience. I feel like I got a taste of what Lucas and Spielberg suffered making Star Wars and Jaws. Nothing went right, and anything that could've gone wrong, did on this production (short of a cataclysmic fire).

I'm now starting work on the editing and I am loathe to even see half of the footage again, knowing the work that it will take to make it work.
 

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