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? 304
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 317
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
