Stop/Eject Postproduction Budget Breakdown

Back in November 2012 I posted and analysed the preproduction and production budget for my short film Stop/Eject, a 17 minute fantasy-drama which was shot on a DSLR. Now I’m going to do the same for the postproduction budget, including distribution and marketing. We’re currently selling Blu-rays and digital rentals of Stop/Eject, to raise money for further film festival entries, so please support us by buying a copy if you find this blog useful.

Download the budget here as a PDF (35kb).

As you can see, we had almost £2,000 available to us in post, some of which was left over from production, but most of which came from a crowd-funding campaign. You can read my evaluation of that campaign in an earlier post.

Mixing Stop/Eject at Alchemea College in Islington
Sound mix

None of the cast or crew were paid at any stage of making Stop/Eject, and indeed I tried not to spend anything at all on postproduction. The VFX artists worked on their home computers, editor Miguel Ferros used his own Mac-based Avid system, colourist Michael Stirling used his company‘s DaVinci Resolve projection grading suite, sound editor and designer Henning Knoepfel used his own Mac for the audio work and pulled in a favour to get a free studio day for the ADR, and re-recording mixer Jose Pereira used the studio at the college where he lectures. Scott Benzie composed the music in his home studio and we recorded it for free with four live players at Worcester Tech College.

Georgina does some ADR

So except for a suite of clock sound effects, which Henning convinced me were necessary to help the audio tell the story, the main costs in postproduction were those incurred by people travelling so that we could be in the same room for some of the work, and eating lunch on those occasions. It’s important to at least make sure people are fed when you can’t pay them a fee. The most expensive of these days was the ADR session, which involved me and two lead actors travelling from Hereford, Birmingham and Bath respectively to the studio in east London.

Even in today’s digital world, some files are just too damn big to send online, and such was the case with the Avid media output by Miguel ready for the grade. I therefore purchased a USB hard drive, which ended up being couriered across London a couple of times to get to where it needed to be. After the film was completed, I used the same drive to archive all of the Stop/Eject assets and project files.

In order to run the crowd-funding campaign, which lasted for most of postproduction, we needed to build our own website and cut a trailer using library music. We also attended several events to promote the campaign and the film in general, one of which charged an entry fee.

Glossy script book
Glossy script book

The £79.47 spent on producing the crowd-funding rewards (a.k.a. perks or gifts) was racked up mostly by the hardback glossy script books, costing about £25 each (ex. VAT). The sponsorship level required to qualify for one of these books was £100, and since you also got a DVD, Blu-ray and premiere invite for that amount, there can scarcely have been £60 left of the donation for us to spend on actually making the film! It just goes to show that you should carefully cost up your rewards before you offer them.

DVDs & Blu-rays
DVDs & Blu-rays

That £79.47 isn’t the whole story though, since the next three items listed – the screening venue hire, Blu-ray stock and dupes – were all partly for sponsors as well. (A £10 donation got you an invite to the premiere, £30 got you a DVD and an invite, and £50 got you a Blu-ray, a DVD and an invite.)

£25.61 bought me fourteen blank Blu-ray discs, most of which I got through in trial and error as I authored and tested my first ever BD. The £265.30 spent on dupes got us 60 DVDs and 50 BDs, all with full colour on-disc artwork, inlays and cases. 20 of those discs went to sponsors and approximately 50 to cast and crew, with the rest being reserved for press and festivals.

I deliberately completed the discs in time for the premiere so that I could hand many of them out in person and reduce postage costs. For those that I did post, I used only pre-loved jiffy bags which I had been collecting for some time.

All in all, I’d say almost 11% of the £1,584 raised through crowd-funding was spent on creating and delivering rewards, a little more than I would have liked. Ideally you want to spend no more than 10% of your budget on rewards.

Stop/Eject press kit
Stop/Eject press kit

As detailed in another post, I created Stop/Eject’s Digital Cinema Package at home using free software, but did have to buy a hard drive for it and a flight case, since I intended to ship it to international festivals for screenings.

To promote the film at festivals and beyond, we had 50 full colour folders printed, each containing five single-sided monochrome pages of text. We also paid £10 to submit Stop/Eject to The London Film Review, the hope being that good reviews would increase our chances of festival selection.

And that only really leaves the festival entry fees themselves. We’ve entered 25 to date, and the money we’re raising now should allow us to enter another 20 or so. In a future post I’ll provide a list of the festivals entered, their deadlines and fees, and the selection results.

Stop/Eject Postproduction Budget Breakdown

Stop/Eject Available Now

Georgina Sherrington as Kate in Stop/Eject. Photo: Paul Bednall
Georgina Sherrington as Kate in Stop/Eject. Photo: Paul Bednall

Stop/Eject, “a charming, fairytale-like film” (Unsung Films) in which Georgina Sherrington “steals the show with an emotional performance of the highest merit” (The London Film Review), is now available to buy from But hurry, because DVD and Blu-ray copies are VERY limited in number, and will only be available for two weeks.

You can also “rent” Stop/Eject (i.e. get a month’s access to an online streaming version) or Memoirs of the Worst Witch, an exclusive interview with Georgina Sherrington about her time playing Mildred Hubble in the cult ITV series.

Or, if none of that’s enough for you, you can buy the bumper pack which contains a Stop/Eject Blu-ray, press kit and genuine cassette prop used in the film, plus DVD copies of my previous films Soul Searcher and The Dark Side of the Earth: Making the Pilot.

This is being run as an all-or-nothing crowd-funding campaign, so we need to hit our £400 funding target in order for anyone to get their copies. All money raised will be used to enter the film into more festivals around the world.

Head on over to to order your copy now.

Stop/Eject Available Now

Stop/Eject Available to Buy from Sunday

DVDs & Blu-rays
Stop/Eject DVDs & Blu-rays are available from Sunday March 30th

Since completing the magical and moving fantasy-drama Stop/Eject last year, a number of people have contacted me asking where they can see the film or how they can buy a copy. Great news – from this Sunday, for two weeks only, a limited number of DVD and Blu-ray copies of Stop/Eject will be available to buy. Both discs are loaded with extra features including a 30 minute behind-the-scenes documentary, cast and crew commentaries, and deleted scenes. You’ll also be able to “rent” the film for online streaming.

Praise for Stop/Eject….

‘Sherrington steals the show with an emotional performance of the highest merit. Well-written, well-executed, and a genuine pleasure to watch.’ – The London Film Review

‘It’s rare to see such love towards a heroine, consideration for her pain, honesty and respect towards a short film’s audience. A charming, fairytale-like film with a gentle, sad, but noteworthy message.’ – Unsung Films

‘A very strong, powerful film… A great emotional performance by Georgina Sherrington.’ – The Final Cut

To get your copy, just vist the official website at from Sunday onwards.

Stop/Eject Available to Buy from Sunday

Stop/Eject: Script to Screen

Following my personal observations on the shot planning process the other day, here’s a look at that process in action and a record of some of the thoughts that go through my head as a director when I’m choosing camera angles.

Everything begins with the script, and here is the extract for the Stop/Eject sequence I’m going to break down:

KATE stands behind the alcove’s curtain with an armful of tapes.
She pushes one into the recorder – “JULY 16th 2007, 5-6:30pm” - 
and hits PLAY. Warm summer sunshine steals in through the crack
in the curtain. She pulls it back to reveal the river, sunlight
dancing and sparkling in the water of the weir.
COPY-KATE cycles through the gardens on a creaky old bicycle
with a custom paint job and various doodads hanging off,
oblivious to her other self and the alcove stood in the middle
of a Victorian bandstand.
Copy-Kate spots a strange figure on the riverbank, wearing
closed-back headphones and waving a big, fluffy microphone at
the running water.  She looks ahead – she’s about to run over
TWO YOUNG GIRLS.  She grips the brakes tightly and the bike
screeches to a stop with a noise like a small army of warring
cats.  She catches her breath as the older girl scowls and drags
her sister away.

Sophie drew the following storyboards for this sequence, based on my rough sketches:

I don’t like starting scenes with establishing shots; I prefer to reveal them gradually. So when I conceived the first shot (top left) – setting up Kate in the alcove in the shop – I suspected I would probably end up cutting it, and sure enough I never even filmed it. The audience would know by now where the tape recorder alcove was, I figured.

The next shot (top right) follows Kate as she puts down the stack of tapes. This is fairly basic visual storytelling. The audience already knows that the tapes contain recordings of Kate’s life. When we see her come in with an armful of cassettes, we anticipate her nostalgia trip.

As this was the first time Kate was to travel back in time more than a few hours, I felt it important to show the action of the tape going into the recorder in close-up (bottom), to ensure the audience understood the connection between the tapes, the machine and the time travelling.


We then return (top left) to the previous angle, following Kate as she stands back up and opens the curtain. One of my regrets with Stop/Eject was that I never shot over Kate’s shoulder as she looked out of the alcove. I can only think this is because I was trying to avoid doing “the obvious thing”. In this scene I chose instead to tease what she’s seeing, revealing first the sunlight on her face, and then (top right) an abstract close-up of a spinning bike wheel, part of the visual theme of circles I had smart-arsedly developed for the film. My thinking was that time travel was a big and unbelievable concept for Kate to take in, so it needed to be broken to her (and therefore us) gradually.

Finally the scene is revealed (bottom left) in a high wide shot to establish the geography, which then cranes down to draw us into the action. On the day, there was a bush in the foreground, which began to obscure the action as we craned down, so we decided to crane up instead, rising up over the bush to reveal the action.

Next it was necessary to show the place of Kate and the alcove in the geography. I wanted to echo the formality and symmetry of the bandstand’s architecture by framing it flat-on, dead centre (bottom right).

storyboards_scan11Then Copy-Kate sees Dan, her future husband, for the very first time. I wanted to show an immediate connection using an over-the-shoulder shot-reverse. Since Copy-Kate was on a moving bike, this meant panning with her for her angle (top) and then tracking with her for Dan’s angle (bottom) in order to keep her shoulder in frame. I left Dan’s shoulder out of Kate’s shot since he hasn’t seen her yet and so hasn’t made a connection.

The editing podcast below from summer 2012 explains the various iterations I went through with this sequence. (I later brought Miguel Ferros on board to re-edit the film, and his final version is far superior to all of my attempts.) You can see in the podcast some of the problems that my linear shot planning approach caused, notably my failure to cover the whole scene in the crane shot, and the restrictions which that placed on me in the edit.

Despite these minor quibbles, I’m very proud of Stop/Eject and its visual storytelling. It’s recently received a couple of glowing reviews on Unsung Films and The London Film Review, the latter praising its visuals, and both quite rightly lauding Georgina Sherrington’s brilliant lead performance.



Stop/Eject: Script to Screen

Crowd-funding Stop/Eject

This featurette relates the ups and downs of the two crowd-funding campaigns run for my short fantasy-drama Stop/Eject. Producer Sophie Black and I discuss the various methods we used to solicit donations, from the mundane (Facebook posts) to the surreal (threatening the lives of innocent pets). We also talk about the kinds of people who contributed, the rewards we offered, and the emotional rollercoaster of an all-or-nothing campaign.

If you want to know more, read my blog entries evaluating the first and second campaigns.

Crowd-funding Stop/Eject

Audience Interpretations and the Importance of Test Screenings

Is Kate (Georgina Sherrington) shoplifting in this deleted shot from Stop/Eject?
Is Kate (Georgina Sherrington) shoplifting in this deleted shot from Stop/Eject?

One thing I often find myself struggling with as a filmmaker is clarity of motivation and storyline. It’s amazing how easily an audience can misinterpret something – or perhaps I should say how easily they can interpret it differently from the director, writer, etc. Here are some examples:

  • Stop/Eject‘s protagonist Kate is a costume designer, though this is never stated explicitly, and the scene that might have hinted most at it was deleted early on in the editing process. In the opening scene she enters a charity shop and gets a scrapbook of costume designs out of her bag to refer to whilst browsing the clothing rack. But after trimming the scene to improve the pace, the sequence of events in the locked edit became: Kate enters the charity shop with her husband Dan; she approaches a clothing rack and opens her bag; we then cut to Dan asking the shopkeeper how much a record is, drawing her away from Kate’s location. In short, it looked like Kate was opening her bag to do some shoplifting and Dan was abetting her by distracting the shopkeeper. I was blind to this because I knew Kate’s real intention, but my wife picked it up as soon as she saw it. Despite having locked the edit, on spotting this issue we hastily cut out the shot of Kate opening her bag.
  • In the same scene in Stop/Eject, Alice the shopkeeper was filmed looking at her watch. The intention was to show that she knew the cassette in the magic tape recorder needed turning over very soon, and was weighing up whether she had time to answer Dan’s query first. But test audiences thought that, given Alice’s mysterious connection to the time-travelling tape recorder, she was looking at her watch because she knew that any minute now an accident was going to happen, which indeed it does at the end of the scene. The solution was to simply cut Alice’s watch check.
  • My 2012 Virgin Media Shorts entry, Ghost-trainspotting, is about a deceased nerd who spots trains of an equally ghostly nature. His ghostly nature, however, is not revealed until late in the film. This revelation comes in the form of (a) him ascending into the clouds in a shaft of heavenly light, his final mission on earth being complete, and (b) a closing shot of his photo in a shrine. But we had to cut the shrine shot due to the competition’s strict length limit, and some viewers thought the shaft of heavenly light looked more like he was being beamed up by aliens. Result? A complete misunderstanding of the story. Sadly, with the competition deadline upon me, I was unable to correct this issue in time.

Audiences aren’t stupid; you just have to remember that they haven’t read the script, been on the set and worked on the edit for months. They’re coming to it completely fresh, and if the right clues aren’t in the film, they have little chance of interpreting it as you intended.

This is why test screenings are so important. Happily most of these types of issues can be resolved fairly easily by cutting something out or adding a line of ADR, but unless you show your edit to fresh eyes you probably won’t even know they are issues in the first place.

For more on test screenings and a sample report form, check out the blog post I wrote last summer about the Stop/Eject screenings.

Audience Interpretations and the Importance of Test Screenings

Stop/Eject Cast and Crew Screening

Me, Georgina Sherrington, Amelia Edwards, Therese Collins and Oliver Park at the screening
Me, Georgina Sherrington, Amelia Edwards, Therese Collins and Oliver Park at the screening. Photo: Denis Baudin

Last weekend Stop/Eject, two years in the making, got its first proper screening at the Mac in Birmingham, to an invited audience of cast, crew and sponsors.

The film had been in postproduction for fifteen months – as long as my feature Soul Searcher. With every film I make I want the quality to improve, which means more time, and I want to do fewer jobs myself and turn them over to talented specialists, which again means more time because they’re all fitting it in as a favour around paying work.

The DVDs and Blu-rays arrived in the nick of time.
The DVDs and Blu-rays arrived in the nick of time.

So it might have taken a while, but it was worth it, and it seems that everyone who came along on Saturday agreed. Those of you cast/crew/sponsors who have a Blu-ray copy will be able to see the huge difference wrought by editor Miguel Ferros versus my original cut.

But even since picture lock back in January the film has come on leaps and bounds. The actors were all convinced that the edit had changed since they saw it at the ADR session, but actually all that had changed was the soundtrack. Henning Knoepfel’s sound design and Scott Benzie’s beautiful music, both delicately mixed by Jose Pereira, bring a whole new dimension to the film. Again, if you have the DVD or Blu-ray, be sure to check out the Superior Sound Reproduction featurette for a glimpse into the transformative process of postproduction audio.

Georgina Sherrington. Photo: Paul Bednall
Georgina Sherrington. Photo: Paul Bednall

The day itself was really nice, with most of the key people attending and everyone having a good time. After the screening many of us went on to Fletcher’s Bar and Restaurant to drink, chat and gather around a TV to watch Record & Play: The Making of Stop/Eject.

As usual with these events there is a tinge of sadness. Will I ever see some of these lovely people again? Will we get to work together in the future? With all the good will going round at a premiere, you want to start shooting a new film with the same team the next day, but of course it never works out that way.

Anyway, thanks once again to everyone who came and everyone who supported Stop/Eject. Venice Film Festival has already turned down the film, but there are plenty more to enter and you’ll all get to see it eventually on the festival circuit or (ultimately) online.

Stop/Eject Cast and Crew Screening