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Additional Posts in Production Friends - Producers on both sides of the bid.
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Write the creative to the budget. Keep it simple, but make the copy creative. Work closely with your agency producer to stay within budget and run things by them before you take things to the client. Also something we do all the time to make lower budgets work, is do a single bid with a director we love (ideally that has worked with the client before and the client loved) and then keep the director involved in the script writing process. If you can get them excited about an idea and they can even weigh in, they are more likely to say yes to things that would be out of budget typically because they’ll want it for their reel. It’s easier to get someone to agree to things that would typically be out of budget if they are involved in the process.
Things that effect the budget are talent, locations, specialty props and specialty camera equipment. For post production, consider freelancers as long as they have a great reel. You won’t get the fancy cheese plates in the studio suites, but their work will still be great.
It’s mostly about criteria. The more talent and locations, the more they cost. Speciality props costs money to make, anything with driving is expensive. Start by limiting the locations and talent, and don’t write in ridiculous physical stunts or custom props.
Find hungry in-college or just out of college film students - support them with an expensive, seasoned line producer & what EP1 said above, you're all set. Someone who knows lighting so it doesn't look crappy.
If I need to get some tik tok videos done, sure. They don’t need to look amazing anyways and someone fresh out of school would have most likely used tik tok and it doesn’t need to look professional anyways. Maybe we’re after a different caliber of work haha. I would love to see some stuff you’ve done with film school students and what the budgets were though! Maybe you’ve had better experiences than I have.
Close up, in studio shots with no specialty camera and no talent and no animation or VFX. Good luck!
Oh I thought of one more thing - shoot in another country if you have the connections to do so. You can save a lot of money if you can shoot in another country with a lower exchange rate or like in the UK where there’s no talent union.
You just have to be SUPER sure of your director and your DP - the rest of the crew tends to be interchangeable, but different countries have different styles and director/DP make a big difference. Also maybe keep your post production in North America or even Australia - again because of different styles and levels of work.