How We Prepped a $250 Short Film: The Pre-Production Breakdown

When you think of short film pre-production, the words “tight budget” and “tight schedule” might come to mind—and for us, both were true. In Episode 20 of Indie Film Podcast, we kick off a special three-part series documenting the full creation of Dive, a suspenseful short film shot for just $250.

This episode is all about the pre-production phase: the messy middle where ideas get clarified, locations get locked, and scripts either survive or get shelved. If you’ve ever struggled to plan a short film on a micro budget, this is your cheat sheet — the real, unpolished version of what it takes to go from “I have a script idea” to “we’re rolling tomorrow.”

Choosing the Right Script (and Killing Your Darlings)

We started with not one, not two, but three potential scripts. Ultimately, Dive rose to the top—not because it was the flashiest, but because it was the most doable. The others had too many locations, too many characters, or were too long for the festival's 10-minute time limit.

Sometimes the best decision in short film pre-production is knowing when a great idea is better saved for a future feature or just another day. Dive gave us a single location, just a few speaking roles, and room to experiment with dialogue-driven tension. And it was all within budget, which was nearly non-existent.

Rewriting with Feedback

This was the first time Victoria finished a script early enough to send it out for feedback — and it paid off. Trusted friends (and filmmakers) weighed in, and about 95% of their suggestions made the final cut. From tweaks in dialogue to tying the ending back to a key text message in the story, every note helped the story tighten and sharpen.

If you’ve never sent your script out for critique, consider it. Fresh eyes will find story gaps you’re too close to see.

Locking Down Locations

Dive was written with a dive bar in mind, and one in particular: Hilltop Station. It turned out that one of Victoria’s past collaborators helps run the place and was willing to donate the space. That’s indie filmmaking in a nutshell: know your community, be kind to your crew, and you might just land your dream location for free.

Casting on a Budget (aka, No Budget)

All of the actors and crew donated their time. That included Emmy winner Lee Vander Boegh, cinematographer Daniel Klamerus, and key players from the local indie film scene in Boise. The big takeaway? Just ask.

It’s tempting to assume people will say no (especially when you can’t pay them) but many talented folks are happy to collaborate on art they’re excited about, especially if it lets them stretch beyond their usual work.

Building the Crew (and Asking for What You Need)

Victoria initially tiptoed around asking Klamerus to be the DP, instead pitching it as a lighting or gaffing gig. That miscommunication almost cost the project a cinematographer. Lesson learned: be direct. If you want someone to take on a creative leadership role, say so clearly.

Most people would rather hear a direct ask—and be given the choice to say no—than try to decipher vague or roundabout invitations.

Scheduling the Shoot

The shoot took place over two nights, Monday and Tuesday, when the restaurant was closed. With limited time, tight availability, and a hefty shot list (50+ setups!), the team worked fast and smart. Sound design and lighting were planned in advance, and the ability to leave equipment in place overnight saved hours of reset time.

All told, they captured over 30 shots, many involving careful light shaping and dialogue coverage. It's a reminder that great planning in pre-production sets the tone for what’s possible on shoot days.

Why This Episode Matters

This isn’t just a behind-the-scenes breakdown; it’s a practical look at what short film pre-production really means when you’re not backed by studio money. From casting without cash to rewriting a suspense script around location constraints, Dive was a crash course in resourceful filmmaking.

Episode 20 marks a milestone for us, and it’s only fitting that we use it to finally prove we’re not just armchair critics—we’re active filmmakers! Stick around for parts two and three of this series, where we’ll cover production and post-production, and walk you through how this $250 short film actually came together.

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