That’s a Wrap!: A Conversation with Producer Wesley Cameron on What It Really Takes to Make a Feature Film on a $15,000 Budget

As Mirror Mirror wraps principal photography and moves into post-production, we sat down with Wesley Cameron, the film’s Producer and Productions Director at Seashell Studios, to talk about producing his first feature film and the secret to making it happen.

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Q: For those who don’t know, what exactly does a producer do on a film set?

Wesley Cameron:
It honestly depends on the scale of the production but in the case of Mirror Mirror, we were on a micro-budget so it’s a really a little bit of everything. The producer tends to be the bridge between the creative and the practical. We make sure the director’s vision can actually happen, while keeping him or her grounded in reality and within the confines of the budget. This means it’s incredibly important to communicate with the Above the Line members of the team like the Director, Writers, and fellow producers to ensure the most collaborative experience for everyone. While doing this, we also handle the logistics, scheduling, contracts, insurance, payroll, locations, meals, crew coordination, really all the not-so-sexy stuff in filmmaking and to be completely transparent, some days you really just feel like a glorified PA, and that’s entirely okay.

On Mirror Mirror, we had a crew of over twenty people, filming at multiple locations across Central Florida including a multi-million dollar mansion in Saint Cloud, Florida, and an extremely tight shooting schedule spanning over a few months. My job, along with our other incredible producers, like Jayden White and my wife, Jessica, was to make sure all the important people knew where to be, what to do, and that the creative energy (and snacks) kept flowing without chaos taking over.

Q: What’s the biggest misconception about producers?

Wesley:
I think people often think producers just write checks and sit in a chair, which may be the case for some producers, but most of us are deeply rooted creatives, just like everyone else on set. In order for a set to run smoothly, every single position must be equipped and enabled to work their absolute best so that means while everyone is having fun curating the image in the frame, we’re the ones making calls, hauling gear when needed, negotiating location access, putting our fires and finding backup solutions when things go sideways…and things will always go sideways.

Sometimes that means going from managing budgets and making huge calls like recasts, budget decisions or approving creative choices; other times it means grabbing coffee or toilet paper for the crew when it runs out or calming nerves when the rain starts pouring in the middle of a take. You wear every hat imaginable and try to stay out of the way to let real magicians on set, like the grips, sound guys, camera crew, gaffers, HMU, and so many other departments I could name, work their magic to ensure the viewer has the most immersive and compelling experience possible.

Q: What was the most challenging day on the Mirror Mirror set?

Wesley:
Oh man, every day came with its own challenges but the first one that comes to mind is the very first day on set when our lead actor dropped out of the film. His eye had gotten injured the day prior and he wouldn’t be available to film for most of the week. We couldn’t reschedule, and we had the entire crew ready and waiting so we recast the day of. Our amazing Assistant Director, Anoop Surya, who is an actor already, jumped into the role without a hitch. As devastated as we were that our original actor wasn’t able to stay in his role, we learned to adapt quickly, think creatively, and trust one another. Luckily, George, the original actor, recovered brilliantly and is doing very well. He also has a cameo in the memorial scene as the guy with the eyepatch! But at the end of the day, that’s what filmmaking is really about — calm collaboration and swift problem solving on the spot and under pressure.

Q: How on earth did you make a feature for under $15,000?

Wesley:
Sometimes I still ask myself that same question. In full transparency, that budget covered pre-production and principal photography. It did not cover post-production, marketing, or any distribution costs, as we’re just now entering that process. So while I’d like to say we made a feature film for under $15000, we might be cheating just a bit.

But, as mentioned before, we had an average roster of about 20 crew members on set, along with 8-10 principal cast members, with a few days of extras. We also filmed at 8 different locations across the greater Central Florida area and flew talent and crew in from California, Alabama, Georgia and Miami. With that scale of a production, the only way we could accomplish this was because of the incredible partnerships we were able to establish and the irreplaceable crew members that volunteered their time and efforts to this film.

Without locations like Nuptials in Nature and The Trading Post, we would not have been able to provide the immense production value we did on this level of budget. We also had the most incredible Director of Photography and Gaffer, Ethan Hegel and Dale Johnson, that took time away from their families to lend us their talents and make this film look like it cost double what it did to make it.

Q: What is Mirror Mirror about?

Wesley:
Mirror, Mirror is story that explores the idea that perfection isn’t always what it’s chalked up to be. We follow Serena, an obsessive suburban housewife, as she careens down an unstable path of envy when she collides with her husband’s past. Her obsession with perfection and insecurity consumes her and reveals a deeply rooted secret that further destroy’s the perfect illusion she’s worked so diligently to curate.

Q: That sounds like a pretty dark concept. Are these the types of stories Seashell Studios is looking to tell?

Wesley:
Seashell Studios wants to tell and help others tell stories that make people think a little deeper about themselves. I think we all tend to justify our own choices while judging others for theirs, without really stopping to look at what’s going on in our own hearts. The stories we tell try to pull back that curtain a bit and attempt to show the darker sides of human nature that we don’t always like to admit are there. Whether it’s through a horror film, a psychological drama, an action flick, or even a romantic comedy, we’re really just exploring the same thing: the messiness of being human, and the hope that redemption is still possible, even when all signs point to our inherent (and deserved) doom.

Q: Now that you’re entering post-production, what’s next for you and Seashell Studios?

Wesley:
Wow, well, while we we have some many fun things in the pipeline that we can necessarily share just yet, for Mirror Mirror, we’re diving into the edit, color grading, and sound design right now while also having our marketing meetings, submitting to festivals, and preparing for distribution Something I like to remind new producers is that unlike a lot of the crew, our job doesn’t stop when the cameras do, it just shifts focus. Post-production is where the story and everyone’s hard work truly comes together and there are still many unknown problems to solve well after wrap day, but that’s one of my most favorite parts of the job.

Q: What advice would you give to someone dreaming of becoming a producer or working in indie film?

Wesley:
You really have to have a love for it to support your journey in the beginning. Just like everything else, the first couple of years are really tough. Jessie and I didn’t make a dime for the first few years and we had to figure it out. But we continue to learn everything we can. Be humble enough to take on any role — even the unglamorous ones — and even as the Producer, be okay with doing the little jobs like steaming the wardrobe or setting up crafty, picking up the catering, arriving first and leaving last, and putting countless hours and effort in without any promise of payment. Every film teaches you something new, and every challenge builds resilience.

Filmmaking is tough but deeply rewarding and in today’s world where visual storytelling is so saturated, it really is about the privilege of doing what you love, even if you don’t make any money or become famous because of it. Collaborate, be humble, care for others before yourself, and always support other storytellers.

Q: How can people follow your journey and support Mirror Mirror and future projects?

Wesley:
We’re so proud of what our cast and crew have built together and we’re even more excited to be able to share it with the world soon. If you want to follow along, we’re sharing updates, behind-the-scenes looks, and sneak peeks as we move through post-production on our website and Instagram. We also want to build a brand that people are proud of and want to be a part of so we would love to hear your ideas, thought, comments or even share with us a script that you’ve been wanting to produce. We’d love to support your storytelling journey and we’d love for you to support ours.

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About Seashell Studios

Seashell Studios is a Florida-based film production company and rental house creating narrative films, music videos, and branded content.

Founded by Wesley and Jessie Cameron, the studio focuses on meaningful storytelling, creative collaboration, and accessible film production that brings cinematic experiences to life — from the Sunshine State to the big screen.

Follow our journey:
📽️ Instagram: @seashellstudios_us
🌐 Website: SeashellStudios.net