Book Description
This book is for working film/TV professionals and students alike. If you're a line producer, production manager, production supervisor, assistant director or production coordinator--the book has everything you'll need (including all the forms, contracts, releases and checklists) to set up and run a production--from finding a production office to turning over delivery elements. Even if you know what you're doing, you will be thrilled to find everything you need in one place. If you're not already working in film production, but think you'd like to be, read the book -- and then decide. If you choose to pursue this career path, you'll know what to expect, you'll be prepared, and you'll be ten steps ahead of everyone else just starting out.
New topics and information in the fourth edition include:
* Low-budget independent films, including documentaries and shorts
* Information specific to television production and commercials
* The industry's commitment to go green and how to do it
* Coverage of new travel and shipping regulations
* Updated information on scheduling, budgeting, deal memos, music clearances, communications, digital production, and new forms throughout
Table of Contents
- Cover
- Title Page
- Copyright Page
- Dedication
- Table of Contents
- Introduction
- Acknowledgments
- Forms in the book
- Chapter 1: The Production Team and Who Does What
- Introduction
- Producers
- Executive Producer
- Producer
- Co-Producer
- Line Producer
- Post Production Producer
- Associate Producer
- Production Management
- Unit Production Manager
- First Assistant Director
- Second Assistant Director
- Production Supervisor
- Production Coordinator
- Chapter 2: The Production Office
- Introduction
- Office Space
- Setting Up
- Phone Systems
- The Traveling Production Kit
- Answering the Phone
- Confidentiality
- Shredding
- Watermarking
- Production Assistants
- Interns
- Ain’t Technology Great?
- Techie Wanted
- Employees Driving Their Own Vehicles for Business Purposes
- Staff Scheduling and Assignment of Duties
- Staff Meetings
- Office Lunches
- Time Management
- Office Inventories, Logs, and Sign-Out Sheets
- The Files
- Files of Blank Forms
- Files for Features, Movies for Television, Cable or Internet
- Series Files
- Day Files
- Forms in This Chapter
- Chapter 3: Basic Accounting
- Introduction
- The Production Accountant
- The Accounting Department
- Handling Payroll
- Payroll Companies
- Accounting Guidelines
- Start Paperwork Packets
- Payroll
- Box Rentals
- Vendor Accounts
- Competitive Bids
- Purchase Orders
- Check Requests
- Petty Cash
- Online Purchases
- Cell Phone Reimbursement
- Auto Allowances
- Mileage Reimbursement
- Drive-To
- Per Diem and Living Allowance
- Invoicing
- Additional Taxable Income
- The Budget
- Tracking Costs
- The Audit
- Forms in This Chapter
- Chapter 4: From Script to Schedule
- Introduction
- It All Starts with a Script
- Script Revisions
- The Breakdown
- The Board
- The Schedule
- Day-Out-of-Days
- Breakdowns
- Chapter 5: Incentives
- Introduction
- The Evolution of Incentive Programs
- In Flux
- What to Consider
- Infrastructure
- Types of Incentives
- Rebate
- Tax Credits
- Refundable Tax Credits
- Transferable Tax Credits
- Nonrefundable, Nontransferable Tax Credits
- Up-Front or Back-End Funding
- Chapter 6: Pre-Production
- What Is Pre-Production?
- Establishing Company Policies
- Stages
- Meetings, Meetings, and More Meetings
- Communications
- Cellular Phones, BlackBerrys, Wireless Internet and More
- Walkie-Talkies
- Previsualization
- Plan Ahead
- Sample Pre-Production Schedule
- Week #1 (8 weeks to go)
- Week #2 (7 weeks to go)
- Week #3 (6 weeks to go)
- Week #4 (5 weeks to go)
- Week #5 (4 weeks to go)
- Week #6 (3 weeks to go)
- Week #7 (2 weeks to go)
- Week #8 (final week of prep)
- Daily Prep Schedules
- More on Logs and Sign-Out Sheets
- Distribution
- Collecting Information and Making Lists
- Crew Information Sheet
- The Crew List
- The Executive Staff List
- The Cast List
- The Contact List
- Better Safe than Sorry
- Pre-Production Checklist
- Starting from Scratch
- Creating Your Own Production Manual
- For Your Own Good
- Forms in This Chapter
- Chapter 7: Insurance Requirements
- Introduction
- General Insurance Guidelines
- Errors and Omissions (E&O)
- Comprehensive General Liability
- Certificates of Insurance
- Hired, Loaned, Donated or Nonowned Auto Liability
- Hired, Loaned or Donated Auto Physical Damage
- Workers’ Compensation and Employer’s Liability
- Guild/Union Accident Coverage
- Production Package (Portfolio Policy)
- Cast Insurance
- Essential Elements
- Bereavement Coverage
- Production Media (Film, Digital Elements or Other Medium)/Direct Physical Loss
- Faulty Stock, Camera and Processing
- Props, Sets and Scenery; Costumes and Wardrobe; Miscellaneous Rented Equipment; Office Contents
- Extra Expense
- Third-Party Property Damage
- Supplemental (or Optional) Coverages
- Umbrella (Excess Liability)
- Use of Aircraft
- Use of Watercraft
- Use of Railroads or Railroad Facilities
- Use of Valuables
- Use of Livestock or Animals
- Signal Interruption Insurance
- Foreign Package Policy
- Political Risk Insurance
- Weather Insurance
- Completion Bonds
- Claims Reporting Procedures
- Submitting Claims
- Forms in This Chapter
- Chapter 8: During the Shoot
- The Prep Continues
- The Set
- Communications
- The Daily Routine
- Call Sheets and Production Reports
- Paperwork from the Set
- The Script Supervisor’s Role
- The Day Before
- Reshoots
- Daily Wrap
- On the Lighter Side
- Forms in This Chapter
- Chapter 9: Building Strong Industry Relationships: Making Good Deals and Navigating the Politics
- Introduction
- Vendors
- Negotiating with Vendors
- Studio and Network Executives
- Agents
- Your Crew
- Negotiating Tips for Hiring Crew
- Avoid Cutting Off Your Nose to Spite Your Face
- Standards of Business Conduct
- Politics and Principles
- #1: Jonathan Sanger (Elephant Man, Frances, Vanilla Sky, Suspect Zero, The Producers)
- #2: A Top Production Exective (who prefers to remain anonymous)
- #3: Ira Shuman (Just Married, Cheaper by the Dozen, The Pink Panther, Night at the Museum, The Pink Panther 2, The Spy Next Door)
- A Producer’s Mission
- Chapter 10: Deal Memos
- Introduction
- The Cast Deal Memo
- Crew Deal Memos
- Writers’ Deal Memos
- DGA Deal Memos
- Forms in This Chapter
- Chapter 11: Unions and Guilds
- Introduction
- An Overview of Industry Unions and Guilds
- Union versus Nonunion Shows
- Becoming a Union Member
- Becoming a Union Signatory
- More Specifically
- Screen Actors Guild (SAG)
- SAGIndie
- Short Film Agreement
- Ultra-Low-Budget Agreement
- Modified Low-Budget Agreement
- Low-Budget Agreement
- AFTRA
- Directors Guild of America (DGA)
- Getting into the DGA
- Creative Rights
- Writers Guild of America (WGA)
- The Producers Guild of America (PGA)
- The Alliance of Motion Picture and Television Producers (AMPTP)
- Contract Services Administration Trust Fund
- SAG, DGA and WGA: Forms and Reports
- Union and Guild Contact Information
- Chapter 12: Principal Talent
- Introduction
- With a Little Help from Technology
- Follow-Through After an Actor’s Been Cast
- Work Calls
- Performer Categories
- Stunt Performer Categories
- Interviews
- Workweek
- Rest Periods
- Consecutive Employment
- Transportation and Location Expenses
- Looping
- Dubbing (Theatrical Motion Pictures Only)
- The Employment of Minors
- Work Permits
- Coogan’s Law
- Parents, Guardians, Teachers and Schooling
- Working Hours
- Miscellaneous Guidelines Pertaining to Minors
- Specific California Guidelines
- Taft/Hartley
- Nudity
- Work in Smoke
- SAG Background Actors
- Additionally
- Forms in This Chapter
- Screen Actors Guild Offices
- Chapter 13: Background Talent
- Background Casting Agencies
- Finding Specific Types
- The Process
- Gathering Large Crowds and Filling Stadiums
- Background Casting on Location
- Specifically SAG
- Moving from Nonunion to Union Status
- With the Extra in Mind
- Reminder of Professional Conduct for Background Actors
- Forms in This Chapter
- Chapter 14: There’s An Animal In My Film
- Introduction
- The Process
- Shipping Animals
- Animal Trainers
- Some Expert Advice
- The American Humane Association
- Chapter 15: Clearances and Releases
- Introduction
- What Needs to Be Cleared
- Likeness
- Crowd Notice
- Locations
- Name
- Names of Actual Businesses or Organizations
- Telephone Numbers
- License Plates
- Depiction of Public Authorities
- Street Addresses
- Depiction of Actual Products
- Posters and Paintings
- Publications
- Currency
- Web Addresses
- Music
- Product Placement
- Guidelines for the Use of Clips, Stills and News Footage in Multimedia Programs
- Literary Works
- News and/or Stock Footage
- Film Clips
- Television Clips
- Still Photos
- Public Domain Films and Stills
- Trailers
- Talent Clearance
- News Footage
- Public Figures in News Footage
- Feature Films
- Television Programs
- Directors and Writers Payments
- Distribution of Release Forms
- Forms in This Chapter
- Chapter 16: A Guide to Music Clearance
- What Is Music Clearance?
- Why Does a Producer Have to Secure Licenses for “Music Rights”?
- How Does Your Errors and Omission Insurance Policy Relate to Music Clearance?
- Who Are the Owners of Musical Compositions and Recordings?
- What Was the U.S. Supreme Court’s Rear Window Decision and How Does It Affect Music Licensing?
- What Rights Are Needed in Order to Make Sure that the Musical Material Used in a Production Is Properly Cleared?
- Public Performing Rights
- Reproduction Rights
- Adaptation Rights
- From Whom Are These Music Rights Obtained?
- Musical Compositions
- Recordings
- What Is a Music Cue Sheet and Why Is It So Important?
- To Where Should Music Cue Sheets Be Sent?
- Can a Copyright Owner Prevent Music from Being Used?
- What Happens If a Song Is Used Without Clearance?
- What About Old Songs? Aren’t These Songs in the Public Domain, and Free to Be Used
- Without Restrictions?
- How Long Can Music Be Protected by Copyright?
- May I Use Eight Bars of a Song Without Paying for It?
- What Is “Fair Use”?
- May the Title of a Song Be Used as the Title of a Program?
- Must a License Be Secured if Song Lyrics Are Spoken in Dialogue?
- May Lyrics to an Existing Song Be Changed Without Permission?
- If a Song Is Cleared for One Episode of a Television Series, May It Be Used in Other Episodes Without Additional Permission?
- Is It Necessary to Clear Music That’s to Be Used in Commercials?
- May Records or Compact Discs Be Used on a Television Show?
- If a License Is Obtained to Use a Film Clip from a Television Program or Feature Film, Will that License Include the Right to Use the Music Contained on the Clip?
- If a Record Company Issues a License to Use a Music Video Clip, Will Further Clearances Be Required?
- Is a Synchronization License Required for the First U.S. Network Broadcast of an riginal Live or Taped Television Program?
- What Rights Are Required to Release a Program for Sale in the Home Video DVD Marketplace?
- What Do Music Copyright Owners Charge for Home Video DVD Rights?
- How Are Feature Films Licensed?
- How Is Music Licensed in Religious Programs?
- How Much Will It Cost to Clear a Song for Use in My Television or Film Project?
- What Is a Needle Drop?
- What Happens When Licenses Expire?
- Chapter 17: Safety
- Safety Programs
- Safety Meetings
- Safety Training
- Designated Areas of Responsibility
- Safety Bulletins
- General Code of Safe Practices for Production
- Procedural Guidelines
- General Safety Guidelines for Production
- General Rules
- Lifting and Moving
- Common Fall Risks (Catwalks, Runways, Floor Openings, Guard Rails, Scaffolds and Stairwells)
- Hazardous Materials
- Hand Tools and Related Equipment
- Filming Equipment (Booms, Camera and Insert Cars, Cranes, Dollies, etc.)
- Filming Vehicles (Aircraft, Helicopters, Cars, Trains, etc.)
- Electrical Safety
- Water Hazards
- Stunts and Special Effects
- Smoke
- Firearms
- Animals
- Environmental Concerns
- Preparing for an Emergency
- Screen Actors Guild - Safety Regulations
- Working Under Hazardous Conditions
- Advice from an Expert
- Sexual Harassment
- “On Location” - Personal Safety Considerations and Suggestions
- Visit Locations Prior to First Day of Shooting
- Gang-Occupied Locations
- Additional Suggestions
- Taking Action
- Conflict Resolution
- Self-Defense
- Forms in This Chapter
- Chapter 18: Locations
- Introduction
- The Location Manager
- Filmmaker’s Code of Conduct
- Sample Notification Letter
- Forms in This Chapter
- Chapter 19: Distant Location
- Introduction
- Location Managers on Distant Location
- The Production Office
- The Traveling Production Office
- Distant Location Checklist
- Welcome to Location
- Interacting with Local Communities
- Film Commissions
- SAG Branch Offices
- Form in This Chapter
- Chapter 20: Foreign Locations
- Introduction
- U.S. Companies Shooting in Foreign Countries
- Before You Make Your Plane Reservations
- Supplying Information to Cast and Crew
- Instructions for Crossing into a Foreign Country
- The U.S. Foreign Corrupt Practices Act (FCPA)
- Final Notes
- The United States as a Foreign Location
- O Visas
- P Visas
- H-2B Visas
- Chapter 21: Travel and Housing
- Introduction
- Travel Considerations
- General Travel Information
- Movement Lists and Individual Travel Itineraries
- Housing
- There’s Always Someone
- Alternative Housing
- Forms in This Chapter
- Chapter 22: Shipping
- Introduction
- Shipping Companies
- Shipping Coordination
- General Shipping Guidelines
- Dangerours Goods
- Modes of Transportation
- Ground
- Air
- Ocean
- Domestic Shipping
- Manifests
- Packing and Labeling
- Shipping Dailies
- Weapons, Ammunition, and Explosives
- Shipping Animals
- Returns
- Personal Items
- Sea Containers and Rolling Stock
- Rolling Stock
- International Shipping
- General Customs and Shipping Guidelines
- Weapons
- Temporary versus Definite
- Brokers and Freight Forwarders
- Methods of Importing Goods on a Temporary Basis
- Carnets
- Certificate of Registration
- Pro-Forma Shipping Invoices
- Temporary Importation Bonds (TIBs)
- In-Bond
- Shipper Export Declaration
- Transporting Goods Across the Border
- Fees
- Packing and Labeling International Shipments
- Providing Information to Vendors
- Returns
- Film and Dailies on a Foreign Location
- U.S. Sales Tax Exemptions
- Final Notes
- Forms in This Chapter
- Chapter 23: Effects
- Introduction
- Visual Effects
- Physical Effects
- Mechanical Effects
- Chapter 24: Specifically Television
- Introduction
- Showrunners
- TV Directors
- Cable Movies
- The One-Hour Drama
- Overview
- Airdates
- Titles
- A Prep Schedule
- Budgets
- The Cast
- The HD Factor
- Some Differences Between Broadcast Network and Cable Shows
- Reality TV
- Reality as a Genre
- Casting
- Insurance Considerations
- Product Placement
- Staff and Crew
- Post Production
- Summing It Up
- Half-Hour Sitcoms
- Chapter 25: Independent Filmmaking
- Introduction
- Specialty Divisions
- So You’re Going to Make a Film
- For Starters
- Rights
- Completion Bonds
- From Financing to Distribution
- A Business Plan
- Financing Models
- Bank Loan
- About Sales Agents
- Producer’s Reps
- Distribution
- Acquisition Executives
- Some Additional Resources
- Chapter 26: Practical Low-Budget Filmmaking
- Introduction
- General Suggestions for Low- and Ultra-Low-Budget Films
- Filming on a Shoestring
- What Is It?
- How Does It Work?
- What to Include in the Proposal
- Some Very Important Notes
- Short Films
- Marrying Creativity with Business
- Film Festivals
- Direct-to-DVD
- Documentaries
- More on Marketing
- Music for Your Film
- Additional Resources
- Forms in This Chapter
- Chapter 27: New Media
- Introduction
- What Is New Media?
- Cross-Platforms
- Studios and Networks
- New Media Producers, Studios and Production Companies
- Games
- Special Venues
- Interactive TV
- Marketing in the Digital Age
- Where to Go for More
- A Little Terminology
- Website Resources
- Conferences
- Final Thoughts
- Chapter 28: Commercial Production
- Introduction
- Developing, Bidding and Awarding
- The Pre-Production Book
- The Relationship Between the Client, the Agency and the Production Company
- Differences
- The Wrap Book
- Forms in This Chapter
- Chapter 29: Wrap
- Introduction
- Recoverable Assets
- Getting Started
- Tentative Screen Credits
- At the Completion of Principal Photography
- Short Ends
- Wrapping by Department
- Wardrobe
- Props
- Set Dressing
- Set Dressing/Construction
- Art Department/Construction
- Construction
- Packing
- To Submit to Your Production Exec or Parent Company
- Your Basic Wrap Book
- Wrap Checklist
- The Final Production Book
- Forms in This Chapter
- Chapter 30: Post Production Overview
- Introduction
- Shooting on Film
- The Process
- Shooting Digitally
- Editing
- The Director’s Cut
- Under the DGA Basic Agreement
- Under a DGA Low-Budget Agreement
- Dailies
- Post Production Sound
- Schedules and Workflow
- Screen Credits
- Directors Guild of America (DGA)
- Director - Theatrical Motion Pictures
- Director - Television
- Unit Production Manager/First Assistant Director/Second Assistant Director - Theatrical Motion Pictures and Television
- Screen Actors Guild (SAG)
- Performers - Theatrical Motion Pictures
- Performers - Television Motion Pictures
- Writers Guild of America (WGA)
- Writers - Theatrical and Television Credits
- Other Significant Screen Credits
- Producers’ Credits
- Casting
- Music
- Film Editor
- Art Director/Production Designer
- Director of Photography
- Costume Designer
- Set Decorator
- Costumers
- Hair and Make-Up
- Alternative Titles
- Sample Screen Credits
- Standard Delivery Requirements
- Negative and Picture Elements
- Sound Elements
- Videotape Masters
- Publicity Materials
- Music Documents
- General Documents
- Work Materials
- Post Production Terminology
- Film Terms Translated to Their Digital Equivalent
- Chapter 31: Greener Filmmaking
- Introduction
- General Guidelines
- Recycle!
- Conserve Energy!
- Be Environmentally Responsible!
- Properly Dispose of Hazardous Waste!
- Departmental Guidelines
- The Production Office
- Construction
- Transportation
- On-Set
- Craft Service/Catering
- Grip and Electric
- Special Effects
- Wardrobe
- Make-Up and Hair
- Camera
- What Can Be Recycled
- Paper
- Metals
- Glass
- Plastics
- Do Not Recycle These Items
- Green Guidelines
- Green Links
- Chapter 32: Industry Survival Tips
- Introduction
- Key Ingredients to a Successful Career
- #1: Passion! Passion! And More Passion!
- #2: Being Prepared
- #3: It’s Who You Know and Who Knows You
- #4: It’s Also What You Know About the Industry
- #5: Understanding the Power of Networking
- #6: Having a Plan, and Committing to Your Success
- #7: Standing Out from the Crowd
- #8: Developing a Thick Skin
- #9: Perfecting Your Craft
- #10: Having Good Interview Skills
- #11: Being Able to Ask for What You Want
- #12: A Winning Attitude
- #13: A Willingness and an Ability to Play the Game
- #14: Being Well Liked and Having a Good Reputation
- #15: A Game Plan for Getting Through the Rough Times
- #16: The Seven Ps
- More on Getting Through the Tough Times
- Getting Work
- Developing Good Work Habits and Necessary People Skills
- A Lesson in Paying Dues
- It’s the Attitude, Dummy
- How to Keep Learning
- Easier Said than Done
- Remembering Why You Got into This Business to Begin With
- Recipe for Success
- Glossary
- Index