We\u2019ve all seen films that were shot on great cinema cameras<\/strong> (like the RED DRAGON<\/a> or ARRI ALEXA<\/a>)\u00a0but clearly still didn\u2019t have much production value to them. At the same time, there have been films shot on DSLRs<\/strong> or consumer level cameras that have had a tremendous amount of production value simply as a result of the efforts of the crew members.<\/strong> In my opinion, your crew is the greatest factor to consider for increasing production value. <\/strong>These three team members arguably matter most when it comes down to translating your vision to the screen:<\/p>\n Too many indie films don\u2019t hire a production designer<\/strong> because of their limited budgets, and it shows big time. I\u2019ve seen countless productions opt to rent an ALEXA<\/a> over hiring the necessary crew for their shoot, and it\u2019s the film that suffers most in the end.<\/p>\n A great production designer<\/strong>\u00a0can make your film look and feel like a million bucks, no matter what format you\u2019re shooting on. By leveraging their understanding of color, wardrobe, locations, and countless other elements – they can increase your production value immensely without necessarily breaking your budget.<\/p>\n This short from PBS Digital<\/a>,\u00a0<\/span>The Importance of Production Design<\/em>, takes a look at a few films from Wes Anderson<\/a> and Danny Boyle<\/a>.<\/p>\n1. Production Designer<\/h3>\n
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\nImage from Anya Kordecki<\/a><\/em><\/p>\n