Index
Note: Page numbers in italic format indicate figures and tables.
3-day weekends, taking advantage of 229
4th Level information 15, 121, 122
Above the Line costs: account numbers 7, 121, 134, 210–12; budget presentation and 126; creative costs and 120, 172–83; digital video pilot 212; fringes and 183; introduction to 7; low budget films and 226; music video and 211; web video and 210
accident insurance see insurance
accountant, production 157, 185, 213, 259–61, 267
Account Level information 15, 122, 124, 132
account numbers: Above the Line costs and 7, 121, 134, 210–12; account description and 132, 133; for amortization 291; assigning of 131–2; Below the Line costs and 7, 121, 134, 210–12; category description 132
actionable checklists 222, 256, 267
actors see cast
Adobe Story software 31
advice and help, asking for 219–20
Afterwriting software 31
Amazon Storywriter 31
animal actors 194, 252, 253, 298
Art Director 155, 156, 187–8, 214, 257 Assistant Director: breakdown processes and 90, 91; Detail Level information and 127; introduction to 5, 82; job of 184; resource management and 261; tasks for 257 assistant editors 155, 202, 204, 299
associate producer 4, 175, 199, 202
audits and auditing 175, 259, 260, 269, 292
backup plan: for alternative location 89; for scheduling 72; for shooting 96
Below the Line costs: account numbers 7, 121, 134, 210–12; budget presentation and 126; digital video pilot 212; editing and 134, 203–4; fringes and 183, 201, 207; introduction to 7; low budget films and 226; music and 204–5, 211; other expenses and 207–8; post production 202–3, 205–7; production staff and 183–7; script content and 120; web video and 210
Berne Convention 283
bidding process 234
blowing up process 106
breakdown information: importing 20, 21, 28; into schedule 79–84, 90; to strips 13, 14, 73
breakdown processes: approaches for 44–6, 81–4; Assistant Director and 90, 91; color coding 35; creation of 20, 22; identifying resources for 19–68; purpose of 20, 25; scene by scene 66, 68; of scripts 23–5, 28, 44–62; setting up of systems in 32–40; steps and stages 12–14; tagging programs and 60; tools for 19
breakdown sheets: color codes on 43, 75; completing of 13, 14, 17; inventory 42–3; macro information 41; mechanics and logistics 41–2; production board strips and 35; props and 40, 42; scene details in 40–1; transferring information to 63–8
budget/budgeting: backing into a number 135–7; building 122, 124, 153, 165–208; calculation of 128–9; category description 123; comparison of 272–3; components of 120–34; construction of 121–2; cost plus version of 230; creating a picture of 221–4; crew and 68; crowdfunding 164; currency conversion and 317–19; department 264; for distribution expenses 247–9, 275–6; for documentary films 278, 282; double checking of 317; end uses of 15–16; equipment rental and 2–3; factors impacting 143–64; feature films 135; groups for 219, 270, 271; inflationary items related to 143; initial 119; introduction to 1–2; layers of 121, 122; locked 258, 306; for marketing 163, 227–8, 242–6, 275–6; for a mobile film 287; needing someone in charge of 231–2; numbering system 133, 134; pattern and amortization 291–3; perfect world vision 230; preliminary 230; presentation of 124–7; price resources 138–42, 234; priorities for 232–3; process of 14–15, 138; proportions related to 225–8; reasons for not distributing 125–6; revision of 230; sample 209–16; scheduling, script and 2–4, 21, 258; for shipping packages 252; shooting issues 3–4, 12; for short films 109, 137; software for 33, 124, 131–3, 166–71, 272, 305; special situations affecting 314–20; stages of 119, 138; for television program 290–3; tips for 221; total 271; unions and guilds and 108–9; ways to reduce 3; who manages 4–5
cable programming 161
cameras 106, 196, 197, 264, 299
cast: audition of 181, 257; celebrity 180; color coding of 37; freelance work of 4; fringes for 182; hiring of 140; identifying 38–9, 56, 61, 80–1, 84; no-budget film and 154; pay rates 179; screenplay components and 23; sorting by 90–4; strengthening relationship with 276; transporting of 140; ways to pay 129–31; see also unions and guilds
casting director 140–1, 179–81, 241, 257
catering service 250, 257, 263, 315
children, working with 143, 220, 251, 298
cloudy and overcast days see weather
collective bargaining 109, 152, 177
color coding: approaches for 35–7; on breakdown sheets 43, 75; of cast 37; categories of 34, 35; of extras 37, 55; props 34, 36–7; of schedule strips 79–80
coming-of-age stories 233, 298
communication system 74, 305–6, 308 Complete Film Production Handbook, The (Honthaner) 256
comprehensive general liability insurance 238
computer approaches: for breakdown process 45–6, 81–4; for color coding 36–7; for production management 8–9; for scheduling 74
contracts and written agreements 138, 142
copy and credit experience 154
copyright holder 174, 247, 316
copyright material 247, 282, 283
corporate and educational projects, budgeting for 296–7, 301
craft service 6, 157, 190, 199, 315
Creative Commons 283
creative costs 6, 120, 121, 172–83, 217
crew: filmmaking history and 6; freelance work of 4; hiring of 140; no-budget film and 154; scheduling and budgeting and 68; strengthening relationship with 276; transporting of 140; ways to pay 129–31; see also unions and guilds
crowdfunding: budget 164; financing and 163–4; for independent filmmaking 107; marketing through 242–3; for short films 145
daily routine, establishing 267
daily time table 221
day out of days (DOOD) report 102–3, 118, 179, 219
days off 80, 99, 111, 263, 267
delivery date 73, 99, 161, 165, 285
department budgets 264
Detail Level information: Assistant Director and 127; budget building and 122, 124, 172–3, 177; local line items and 270
DGA members 177, 178, 179, 185, 186
digital format 105, 106, 251, 298, 315–17
Directors: hiring criteria 179; Loan Out corporation and 178; pay rates 159; shooting decisions by 97, 99; shooting ratio issues 107–8; tasks for 257
distant shoots 198, 260, 263, 270, 271
distribution: budget for 247–9, 275–6; of short films 144–5, 285, 287–8
documentary films 159, 277–84, 300
documentary timeline 223
drones usage 240
DubScript software 31
editing/editors: Below the Line costs and 134, 203–4; choices for 203; digital files 162; nonlinear 162, 163; online 162; sound and pictures 120, 121, 123, 197; virtual reality and 146
educational and corporate films, budgeting for 296–7, 301
effects: CGI 191, 202, 204; resource management and 265; special 43, 55, 190–1, 233, 257; visual 134, 191, 203, 212
Eighths of a Page 44, 50–3, 309–11
elements: identifying 54–5, 59; tagging 61; transferring information about 66
employer’s liability insurance 239
employment contract 5, 14, 119, 172
errors and omission insurance 239, 247
Executive Producer 127, 175, 176, 289, 300
experience: copy and credit 154; film festivals 244, 245; gaining 144–7; shooting ratio and 107–8
exporting: animals 252; files 30–1, 33, 62, 65, 82; screenplay 34
extras: casting assistance for 187; color coding of 37, 55; identifying 57; screenplay components and 23
facility rental 201
FadeIn software 30
feature films: budget issues 135; length and format of 161–3; licensing of 246; online presence for 246; sample schedule 116–17; screenplay page 29; self-releasing of 248; special considerations for 274–6; timeline for 224; see also marketing
Federal Department of Labor 93, 251, 263
film see feature films
film commissions 139–40, 148–51, 199, 240, 252
film festivals 144, 242–6, 285
filmmaking: communication and accountability for 305–6, 308; end uses of 143–4; financing for 163–4; history of 6–7; incentive programs for 110, 147–8, 165, 317; software system for 33; special considerations for 269–301; story rights and 173–4; tasks related to 6; see also resources
film production: delivery date and 73, 99, 161, 165, 285; shooting extension and 4; time divisions for 72; trends to consider 10–11
Final Draft software: description of 30, 33; identifying cast in 61; inserting scene in 51; introduction to 28; scene numbers in 48–9; tagging elements in 61
Financial Core union members 155
financing: crowdfunding and 163–4; exploiting sources of 274; production incentives and 110, 148; see also producers
First Assistant Director see Assistant Director
fiscal sponsorship 280
flat rate: budget calculation and 128; description of 129; example of 130; fringe benefits by 168; producers fees as a 175–6
floater policies 239
Fountain app 31
fringe benefits: Above the Line costs and 183; Below the Line costs and 183, 201, 207; for cast 181, 182; by flat rate 168–9; by percentage 167–8; for unions and guilds 167–70, 180, 201; for WGA members 173, 175
garbage disposal expenses 250
genres: most profitable 233; scripts and 104–5
Gorilla Film Production Software 33
guilds see unions and guilds
guild travel accident insurance 240
hair stylist 124, 127–9, 157, 195
hell or high-water budget 230
help and advice, asking for 219–20
high definition format 11, 106, 194, 204, 250
Highland software 31
importing: animals 252; breakdown information 20, 21; files 28, 30–1, 33, 62, 65, 82
incentive programs 110, 147–8, 165, 317
independent filmmaking see indie filmmakers/films
independent sales reps 246
indie filmmakers/films: crowdfunding for 107; low budget feature 213–16; most profitable 234; rules of 153; shooting issues for 111
Industry Standard Screenplay Format 26
insurance: accident insurance 240; costs related to 208; floater policies 239; safety issues and 238–40; worker’s compensation 182, 217, 238, 239
Internet TV 146
Line Producer (LP): Below the Line costs and 6, 7, 134, 184; introduction to 2; job of 5, 176; resource management and 261; tasks for 257
live musicians and tracks 205
Loan Out corporation 178–80, 182
local shoots 143, 263, 271, 272
locations: budget issues 3, 5, 14, 68; cast availability for 93; comparison of 304–5; creating a map of 262; grouping sets for 85, 91, 199; identifying and obtaining prices about 140; incentive programs 110, 147–8; manager for 312–13; scheduling and 94; scouting for 140, 312; traveling issues 198–9; VR technology and 146
Logline software 31
long-form programming 147
low budget agreements 119, 135, 151
low budget film/filmmakers 151, 153, 213–16, 225, 226
manual approaches: for breakdown process 44–5, 80–1; for color coding 35, 36; for production management 8–9; for scheduling 74
marathon mentality 274
marketing: budget for 163, 227–8, 242–6, 275–6; casting director and 179–81; film festivals for 242–6; selecting key scenes for 144; through crowdfunding 242–3; through social media 274; video 115, 144
Master Use License Agreement 317
Mechanical License Contract 316
microbudget digital video pilot 212
micro budget projects 125, 153, 154, 226
minors, hiring of 93–4, 111, 251–2
mobile platforms 10
Montage and Contour Screenwriting Software 30
most profitable genres 233
Movie Draft software 31
Movie Magic Scheduling and Budgeting software 33, 76
Movie Magic Screenwriter 28, 30, 31
music video 122, 146, 198, 211, 230
MyScreenplays software 31
narrative feature film 274–6, 300
no-budget web video 210
No matter what the budget 154, 230
non-union members 170, 171, 217
non-union productions 89, 93, 141, 152, 153
number systems 37–40, 133, 134
offline editing 162
online editing 162
optioning of scripts 173
P2 cards 106, 162, 200, 250, 315–16
page numbers, setting up of 39–40
pay rates 108, 136, 144, 153, 155
payroll service 131, 173, 182, 259
payroll taxes 153, 173, 180, 182–3, 207
pay scales 119, 135–7, 152–3, 166, 217
petty cash system 220, 259, 260, 261, 315
photography: length of 143; original 265; principal 72, 198, 201, 202, 223–4
picture vehicles and animals 134, 193–4
pilot episodes, budgeting for 293–5
post production: Below the Line costs and 202–3, 205–7; building time into 144; description of 72; equipment for 141–2; film and lab 206; paying by time during 130; resource management and 260; supervisor for 202; timeline for 224
pre-production activities: for Assistant Director 257; description of 72; flow chart of tasks 256–7; grouping like things and 85; resource management and 260; timeline for 222, 224
producers: credits 174, 176, 199, 289; different budget scenarios for 273; fees 175–6
production: bible 289, 311; boards 8, 14, 35, 73–4, 80; incentives for 11, 139, 148–50; information 81, 118, 151, 218; notes 41–3, 58, 64, 67; staff 121, 126, 134, 183–7, 210–13
production accountant 259–61, 267
Production Designer 156, 191–2, 214, 230
production management 1, 8–11, 33, 51, 77
Production Manager (PM) 2, 184–6
production scheduling see scheduling
profit participation 172, 175–7, 241, 260
project length and format 161–3
props: breakdown sheets and 40, 42; color coding 34, 36–7; identifying 57; screenplay components and 23
public domain 316
publicity costs 121, 134, 207–8, 242–6, 274–5
reality programming 10, 283, 290, 294
residual income 314
resources: breakdown processes 19–68; budget 119–216; coordinating and identifying 4, 20, 21; managing 255–66; organizing 20, 21, 71–99; price 138–42
right-to-work states 109, 152, 153
run of show hiring 91, 92, 179
SAG-AFTRA actors 94, 108–9, 111, 155, 161
Save the Cat software 31
scenarios, going through different 219
Scenechronize Production Tools 33
scene(s): adding and deleting 49–50; description of 24; exterior and interior 91, 95; grouping of 305; identifying 12, 13; transferring information from 63, 83–4; as a unit 25; see also breakdown processes
Scenios software 33
scheduling: of 12 hour work day 220; approaches for 74; backup plan and 72; calendar management and 111–12; communication system for 74; creation of 72–8; crew and 68; documentary films 278; end uses of 15–16; factors impacting 104–12; grouping sets and 85–95; honing 311–12; introduction to 1–2; key points to consider for 78; locations and 94; for maximum efficiency 96–103; mobile film 287; picture of 221–4; revision of 229; sample of 113–17; shooting and 96–7, 306, 307–8; software for 8–9, 64–8, 74; before sorting 86; special situations affecting 304–13, 320; steps and stages 12–14; television program 289; tips for 219–21; transferring breakdown information into 79–84, 90; traveling issues 110; unions and guilds and 108–9; who manages 4–5; workflow and consistency 74–8; see also breakdown processes; budget/budgeting; production management
scheduling strips 73, 79–80, 99
screenplay: breaking down of 19; components of 23; revision of 34; software 30–1, 33; story rights and 172, 173
screenwriting software 27–8, 30–1, 35
scripts: accepted length of 24; Below the Line costs and 120; breaking down 311; components of 23; counting segments of 50–3; documentary films and 277; format 26–8; free 311–12; genre and 104–5; inconsistencies related to 311; locked 306; new versions of 311; optioning of 173; page margins and alignment 27; reading 46; working the 274; working without 298–9, 301; see also budget/budgeting; scheduling
Scripts (iTunes) software 31
Scrivener software 31
self-marketing 248
series of episodes, budgeting for 292–3
series programming 290
sets: construction of 188–9; design of 134, 156, 187–8; dressing 191–2; grouping of 85, 89, 199; operations of 189–90; sorting by 85; striking 189; visual cues for 89; see also locations
setting up: of color systems 34–7; of fringes 167–9; of globals 166–7; of number systems 37–40; of software system 32–4; of units 169–70
shooting: analyzing and organizing 222; backup plan for 96; budget issues and 3–4, 12; changes during 236–7; in a corporate or school environment 296; day for night 265; Directors’s role in 97, 99; doing it right the first time 309; format for 105–7; getting around during 316; grouping like things for 85, 89; length of 110–12; optimizing 262–7; outside the country 265; on P2 cards 315–16; scheduling and 96–7, 306, 307–8; solid-state memory cards 315; weather issues 89, 262–3, 308; see also locations; unions and guilds
short documentary 113
short films: budget issues and 109, 137; crowdfunding for 145; distribution of 144–5, 285, 287–8; sample schedule 114; special considerations for 285–8, 300
Showbiz Scheduling and Budgeting software 33
Slugline software 31
social media 144–5, 242–3, 246, 248, 274
software: for budget 33, 124, 131–3, 166–71, 272, 305; for production management 33, 51–3; for scheduling 8–9, 64–8, 74; for screenplay 30–1; for screenwriting 27–8, 30–1, 35; setting up of 32–4
sound: breakdown processes and 14, 19, 41, 43, 64; color coding 37; identifying 58–9; production 134, 196, 197, 205–6; script format and 26
special effects 43, 55, 190–1, 233, 257
spec television 146
stage play page 29
Storyist software 31
StoryO software 30
story rights 132, 133, 134, 172–4
strip board 87, 89, 93, 99, 191
strips: rearranging 13; scene 17, 38; transferring breakdown information to 13, 14, 73
sunrise and sunset shoots 264–5
Superbudget template 166
Synchronization License Contract 316–17
Takes, The (software) 33
talent agents and agency 285, 293
teamwork experience 230–2, 256
television, special considerations for 289–95, 300–1
time increments payment method 129–31
Topsheet Level information 122, 126, 165, 279
transfer of information 63–8, 73
transport/traveling: with bare minimum of people 316; being practical about 308; of cast and crew 140; filming on location 198–9; incentives for 147, 148; obtaining right vehicles for 198; scheduling and 110
Trelby software 31
Truby’s (Write A) Blockbuster software 30
turnaround time 89, 99, 108, 263, 267
TV pilot 114
unions and guilds: casting director and 141; collective bargaining and 109, 152, 177; fringes for 170, 180, 201; hidden expenses and 250; length of shooting dictation by 110–12; pay rates 108, 136, 144, 153, 155; pay scales 119, 135–7, 152–3, 166, 217; scheduling issues and 108–9; tier 1 rates 156–8; understanding rules for 94, 109, 152; wages of 151–61; web sites related to 155; work week 89, 97, 111, 158, 169
Unit Production Manager (UPM) 2, 5, 176, 184, 185, 261
unscripted material 299
unused supplies, donating or selling 250
video tape production 134, 200
Virtual Reality 10, 106–7, 146, 211, 222
visual effects 134, 191, 203, 212
wages: budget calculation and 128–9; unions and guilds and 151–61
weather: checking historical 229, 251; cloudy and overcast days 265; shooting issues 89, 262–3, 308; working with lighting and 195
web budgets 286
web videos 210, 285–8, 300, 308
“What if” scenarios 269
WIFM channel 232
worker’s compensation insurance 182, 217, 238, 239
“work for hire” films 145
working backward approach 308–9
work week 89, 97, 111, 158, 169
Writer (iTunes) software 31
WriterDuet software 30