Before the lights, cameras, actors, and awards, there’s only you and your idea. This idea exists in the dark, constantly evolving and begging to be put into the real world, representing a million different possibilities before it takes its final shape.
Building a production budget is arguably the most important part of the filmmaking process. It creates the framework for the project, a rough outline for what will eventually be a film. But, it’s also one of the least fun parts of the process as well, probably just because it’s so damn difficult. There are an infinite amount of moving variables and unknowns — yet another reason building one is so important.
On certain levels, developing a production budget is the same regardless of the type of film, whether you’re diving into a personal project or developing branded content for a client. We’ve already tackled a few notes on developing a production budget on the personal side, but after speaking with producers Sarah Schutzki (Feral Creative) and Zanah Thirus (BBDO Atlanta), we decided the commercial side deserved its own article.
We’ve been fans of Diego Contreras since before his breakthrough film Islands nabbed a Vimeo Staff Pick in 2013. Since then, his career has been on the rise, taking him briefly through one of the most well-respected ad agencies in history (BBDO), and more recently into the realm of professional filmmaking. Not long ago, he directed two stunning short films for The Lincoln Motor Company, Bloom and Open Your Eyes. And he’s done it all within two years.
It’s very hard to tell what makes a film great. Students spend hundreds of thousands of dollars trying to learn the secret. Critics write hundreds of thousands of words trying to explain it. And still, it usually remains a mystery. But we had a revelation recently while talking to Diego Contreras about his “Unimpossible Missions” series for GE, an ad campaign meant to show off GE’s ingenuity by accomplishing seemingly impossible tasks. What makes Diego’s work great is how he invests a staggering amount of meaning into even the smallest details of his films. There is nothing trivial in his work. Even the snowballs have backstories.