Your System: Workflow and Consistency

Workflow is the sequence of steps you employ to complete a task—in other words, your system.

1. Decide on the name of the project—often the title of the screenplay.
2. List key people and contact information.
3. Together with your producer, Director/AD, decide who has access and the extent of that access. If necessary, set security parameters and passwords in your software (usually in the program “preferences”).

Establish a communication and update system regarding your schedule information (if it’s too early in the process, that’s OK) and chose logical file naming. Strive for consistency between the file name of the screenplay, schedule and budget. Will you assign version numbers or dates to distinguish between them? Discuss with your team and make that information available to whomever needs it.

For example, on a corporate film for a hair salon, entitled All To Get Ahead, our team used the name abbreviated ATGA at the front—a little shorter than the actual title.

• ATGA_Script_V1 (then V2, V3, V4)
• ATGA_Schedule_04MAR2009 (updated w/dates)
• ATGA_Budget_09MAR2009 (updated w/dates)

We shared information via Google Docs.

Consistency will help you save time and one way to do that is to safeguard your work in the computer by saving and backing up. The computer approach: set Autosave (preferences).

Fig. 3.5 Open Preferences in Celtx

Fig. 3.6 Set Autosave

In Movie Magic it looks similar.

Fig. 3.7 Open Preferences

Fig. 3.8 Set Auto Save Reminder Interval

Decide when you will make Backups (every day) and where to store them (flash drive/online).

I check that my system is in place—the strip colors conform to the colors of breakdown sheets. This setting is found under Design/Strip Colors in Movie Magic Scheduling, but in Celtx it doesn’t matter, since all strips are white (for now).

Fig. 3.9 File Menu/Design/Strip Colors

These are the standard colors, although I have seen discrepancies for night:

• White: INTERIOR day (white light bulbs indoors)
• Yellow: EXTERIOR day (yellow sunshine)
• Blue: INTERIOR night (blue light from TV)
• Green strips: EXTERIOR night (green grass at night)

Not every software permits changing these colors. In Movie Magic, you can set the colors any way you like. Click on the square that corresponds to INT and NIGHT, then double click on the color you like (I use a deep blue). Some people use a different system, so I make sure the settings work for me. I prefer INT night is blue and EXT night is green. Your choice of software will dictate these parameters.

Fig. 3.10 Double Click on Palette Colors to Adjust

This is also where you could add a color for an unusual or irregular element so that it sticks out—like Purple for Historical Footage, Photographs, flashbacks, flash forwards.

Consistency is important. As you went through the breakdown process you may have noted inconsistencies in names—of cast, vehicles, important props. As soon as possible, find out from the writer (and/or director) what’s what and who’s who—it could impact your scheduling. Is “Mrs. Pickle” the same person as “Betsy Pickle’s Mom”? Maybe it’s her grandmother; then you’ll need another actor. Is the “white contractor van” from scene 5 a different vehicle from “Ford Econoline Van” in scene 83? You will save time by clearing up inconsistencies as soon as possible.

An important component to workflow and consistency is organization, especially when things go crazy. So before things get crazy, get organized. I’ve found these tools helpful:

• Three-ring binders
• Organized by Subject
• Colors, versions, etc.
• New drafts of scripts, scenes, detailed contact information

In your computer’s Internet browser, create bookmark folders to find links quickly that you use often (Unions, Film Commissions, Vendors, Production Management Software, Dropbox, Weather Sites) and set up your document management (whether on your computer or in the cloud) with names and a structure that is easy to use.

There are many great books that cover production management and this topic more fully by Eve Light Honthaner, Robert Koster, Ralph Singleton, Bastien Cleve; definitely check them out.

Fig. 3.11 Clear Folder Titles Aid Document Management

Key points to consider:

• Where documents and files live
• Naming files and organize them (by category, alphabetically)
• File save/autosave habits
• Back up computer files regularly
• Who gets access to information, who can change the information

Setting up a system sooner saves time later.

A. Fill Out the Production Information

Open scheduling software, open a new schedule, name it and adjust the preferences. Fill Out the Header information—Film title, Producer, Director, AD, Script Date.

Fig. 3.14 Open Production Information

Fig. 3.15 Complete Production Information

Table 3.3

Once you’ve filled out relevant information, click ok.

B. Transfer and Verify Information to a Breakdown Sheet in the Software, One Scene at a Time

1. If you haven’t already, Export the script from screenwriting program as a .SEX file (In your screenplay, scene numbers are on).
2. In your scheduling program, Import .SEX file (File/Import). Save.

In Movie Magic, the opening screen looks like this breakdown sheet: the scheduling program will compute page counts and identify scenes and number them. Or open the Breakdown sheet using the menu.

Fig. 3.16 Blank Breakdown

1. c. Transfer and Verify essential information about the scene itself, starting with the first scene.
   • Scene # (verify)
   • INT/EXT (software may have filled in)
   • Set Location (AKA Set/software may have filled in)
   • Day or Night
   • Page Count (software may have filled in)
   • Brief, VIVID synopsis of scene
2. d. Add each element to its category and complete breakdown for each scene.

The software will bring in some information, but not all. It is imperative that you work scene by scene, verifying that the information you marked on the script is identified in the schedule on a breakdown page (remember CYA: 1 breakdown sheet = 1 scene). This is especially important if you skipped the step of transferring resources onto paper breakdown sheets. Mark the script and enter the information directly into a scheduling program.

Fig. 3.18 Transfer Information About the Scene

C. Assign Cast an ID Number

Assign Board ID Cast Numbers in the Element Manager, according to your system.

Fig. 3.19 Open Element Manager

Fig. 3.20 Double Click Character Name

Fig. 3.21 Assign a Board ID # to the Element

Fig. 3.22 Click on Board ID—to List in Order

Sorting by Set

The fastest way to begin organizing your schedule is to group scenes by:

1. Set (Setting where Scene occurs);
2. Day together/Night together;
3. Interior together/Exterior together

This transforms chaos into something more manageable.

In a computer scheduling program, the initial sorting process is easy.

Add “sort by” criteria; 1. Set, 2. DN (day or night) and 3. IE (interior or exterior), then click ok! Stripboard must be open.

Sort by:

1. Set
2. DN
3. IE

Preproduction is a time when everything is in flux; whom will you hire, where will you shoot? Grouping sets together is the first step to organizing your schedule and as you secure actual locations, that will allow you to refine the order. The words set and location are sometimes used interchangeably, but for our purposes, SET=Scene Heading as

Fig. 3.23 Schedule Before Sorting

Fig. 3.24 Go to Strip Board

FIG. 3.25 A-B Adjust Strip Layout to a Horizontal or Vertical View

Fig. 3.26 Before Sort

Fig. 3.27 After Sort

Fig. 3.28 Drop Down Menu: Actions/Sort

Fig. 3.29 Click Add

Fig. 3.30 Select “Sort By” Criteria

Fig. 3.31 Add Sort By Criteria

Fig. 3.32 After Sort

listed in the Script—INT. JOE’S HOUSE—DAY—the Set would be Joe’s House. Location is the actual physical site where shooting will occur (which often isn’t known in the early stages of preproduction).

Rule of Thumb: Weather is unpredictable, so schedule exterior shots first and then you can still get footage if there’s a weather disruption.

CYA Whenever possible, always have a back-up plan to shoot at an alternative location (AKA cover set). Also, the crew can prep the interior while shooting is taking place outside.

Once sets are consolidated on your strip board, separate each set with a banner—a helpful visual cue. On a production board, simply insert a black strip between each location. In your scheduling software, place your cursor on the last scene occurring at a set, then insert a text banner strip. You can leave them blank, or type something helpful to remind you.

Fig. 3.33 Place Cursor Above Where You Want Text Banner

Fig. 3.34 Insert Banner

Fig. 3.35 Type Text or Leave Blank

Fig. 3.36 Text Banner

Once: 1. SETS are grouped together; and 2. Exteriors are placed first within that set; then INTERIORS, consider 3. Day and Night. Alternating night to day is tough on the body and you need to schedule appropriate turnaround—rest time between shooting periods. While shooting one day after another, turnaround times are straightforward—a specific number of hours as mandated by guilds (12+ hours for union productions); on non-union productions—a humane and reasonable period. Switching day to night (or vice versa) is best at the end of a work week, or if possible (pending location availability) group nights together in one period, such as a week.

Discuss with your director and AD exterior and interiors first, but shooting interior night scenes during the day (dressing windows), may save time. Grouping night locations is one solution.

• Day 1: EXT. SET 1 DAY

  INT. SET 1 DAY

• Day 2: EXT. SET 2 NIGHT

  EXT. SET 2 NIGHT

  INT. SET 2 NIGHT

  INT. SET 3 NIGHT

Sorting by Cast

As much as possible, consolidating the work schedule for each cast member is often cheaper, so you are paying the person for the shortest period of time.

Transferring breakdown information into your schedule, it appears in sequential scene order—1, 2, 3, 4.

Table 3.4

Once you group locations together and positioned exterior scenes before interior, look at which scenes your cast is in, to see if their scenes can be shifted next to one another. Characters 1–3 appear in some of these scenes.

Table 3.5

Keeping locations together, move the actors’ scenes so that they are adjacent. You can consolidate the #1 character—Queen of Diamonds—and you might also consolidate character #3—Pawn.

This example represents the process, which at times can feel like playing chess—one strip move lines up one thing and another thing shifts. Consolidate your locations by location, INT/EXT and DAY/NIGHT. Within those groupings, consolidate your cast. Within one day it’s less important, but it becomes much more so on a day-to-day basis.

The main reason to keep your cast performances consolidated is that it’s usually more cost efficient if you are working with union actors (SAG-AFTRA). Actors may be hired by the day, week, or run of show (AKA for the entire project). When a particular actor appears frequently throughout the entire screenplay, they will most likely be hired as run of show, for the entire production, so you can schedule them whenever needed. The actors who appear sporadically throughout the script may prove to be more challenging and if they are union talent, their rate will fluctuate depending on how much you can consolidate their performances.

Table 3.6

Consolidation of actor appearances may be driven by their fee and certain actors might get paid more than others. Here’s an example of how scheduling cast can affect your budget.

The week below illustrates that Susan, character #6, will work on Monday and Friday, two days. She doesn’t work in any other part of the project and is hired as a day player. In the following example, our first schedule attempt sets her workdays on Monday and Friday. In a union production, the actress would be paid for all 5 days, the entire week, rather than 2 days. The middle days the actor is considered “on hold” in case you need them to come in to work.

Table 3.7

It is possible to save money if Susan works for 2 days rather than 5. If possible, manipulate the schedule so that her workdays are contiguous.

Table 3.8

This is an oversimplification and non-union productions don’t have to abide by these rules. If cast availability is a factor on your project, start with your most important (or highest paid cast) first and consolidate their work schedules as much as possible within each location. You do this on the production board by rearranging strips and in the strip board on the computer by clicking and dragging strips to different positions.

State rules for minors (anyone under 18) strictly limit their working hours, turnaround and hours on set, making it necessary to build extra time into the schedule for their scenes. Casting a minor also requires hiring extra personnel, such as a teacher, nurse and guardian. Minors aged 15 days to 18 years employed in the entertainment industry must have a permit to work and employers must have a permit to employ, both permits being issued by the Division of Labor Standards Enforcement. Permits are required even when the entertainment is non-commercial in nature.

The Federal Department of Labor summarizes laws by state regarding employment of a minor in a film, which can be found in their Table of Child Entertainment Provisions:

www.dol.gov/whd/state/childentertain.htm

The following table lists the maximum amount of time a minor can work on set. Although this table specifically pertains to California productions, it may serve as a guideline. Note that there are differences when school is in or out of session and minors may not work before 5:30 a.m. or after 10:00 p.m. if school is scheduled the next day.

For more details and required paperwork, check out the Entertainment Partners download, entitled “EP Paymaster Minors” found on their website.

Understanding state rules and SAG-AFTRA rules (as well as other relevant unions and guilds) is important, for safety and financial reasons. Guilds and unions post many rules online and their personnel will explain details when consulted.

The take-away from the above exercise points to what is unique for every production—a unique factor, whether location, cast or crew member, that is essential to the production and must be worked around. I call this a finite resource.

The Most Finite Resource

Film schedules often center around one or a few resources perceived to be of utmost importance and the most finite (finite = expensive, scarce). That may be access to a location, or the time of a particular cast or crew member, a special type of equipment, service, or related to a deal you’re getting. It is entirely possible that the producer doesn’t have anything like that in mind,

CYA: How do you know? Ask.

Once you identify this resource (usually some marketable aspect, yielding dramatic or technical results) it will act like the hub of a wheel—and a schedule will revolve around that resource. This is not an industry term, but a concept to help further refine your schedule.

Locations dominate scheduling because they are expensive and we want to rent them for the least amount of time. When a star is working on your shoot, your schedule may revolve around theirs, due to expense and limited availability.

The overriding principle in organizing your schedule is to group “like” things:

• Sets
• Within each location—Interior and Exterior scenes together
• Within Interior or Exterior grouping—group “like” times of Day/Night
• Within grouped locations and grouped times of day—group together principal actors, then minor characters

One-Liner Schedule

Film scheduling programs print several reports, used for a variety of reasons: dissemination to department heads, cast, crew, refining the schedule in discussion with your team, working toward a shooting schedule. The ability to quickly change and print reports and schedules is one of the advantages of utilizing a scheduling program, rather than a manual approach.

A scheduling strip board holds so much information that it can be distracting.

For purposes of working out the order of scenes, condensed reports can give perspective. The one-line (AKA one-liner) report is a pared-down version of the schedule, showing select information, more like a shot list.

View or print these reports, customize with day breaks or banners and talk to your AD and Director with these; at a certain point, scheduling is collaborative and the Director needs to feel comfortable with the plan. The different formats show slightly different information.

Use reports to center in on details to arrange order. From this:

Fig. 3.41 View Reports

Fig. 3.42 Select Report Layout

Fig. 3.43 One Line Schedule

Fig. 3.44 One Line Schedule, Minimal View

To the following order:

Without the screenplay in front of us, we are merely guessing. This change in order gets a bigger section of the script shot sooner, rather than later. These decisions will be affected by how many people are in each scene, complexity within the scene, the emotional trajectory overall and ultimately is the decision of the Director and AD.

It is entirely possible that, after conferring with the director, she would like to film the scenes closer to screenplay order—for dramatic build. Until you have that information, go by what makes sense from the activity in each scene of the screenplay.

Day Out of Days

The day out of days (AKA: DOOD, “dude”) report can be customized to focus on any one particular category (vehicles, props, wardrobe) when you want to drill down, showing the schedule for each element within that category. It is a useful tool to home in on consolidating and rearranging the schedule of actors.

Fig. 3.45 View Reports

Fig. 3.46 Select Day Out of Days

The following day out of days report focuses on the schedule of the actors.

This report is useful for working with SAG-AFTRA, during casting, as a cast budgeting tool and for schedule problem solving. The form uses a simple code, W = Workday, SW = Start Work, H = Hold and can be customized to your preferences.

Fig. 3.47 Day Out of Days

Length of Script and Genre

Two questions to ask right up front will help you frame a project in your mind: how long is the script and what is the genre. These two items offer a quick insight into the schedule and the scope of the project in general.

Typically a script length (if it is formatted correctly) has a direct correlation to how many minutes long the finished film will be, thereby impacting how long it will take to shoot. If you’re creating a shooting schedule, the first question should be “how long is the script,” and if the script is over 60 minutes, it’s a feature length film or some type of television show. A screenplay that is under 60 pages would comprise some type of short film, or a ½-hour television show (unless the filmmakers have something else in mind—then find out; they may or may not be aware of typical expectations in the length of a script). Often, films of a particular genre have shorter screenplays; animated films, comedy, thriller, horror, or action scripts may come in between 75–100 pages, while other scripts average 100–120 pages. In general, 120 pages and up implies a long film (1 minute per page), which may not suit the genre, or perhaps there is an issue with the formatting. If a project has a high page count and is formatted correctly, discuss the length with the filmmaker about how long they expect their finished project to run. If a filmmaker thinks a 120-page script will be 90 minutes long, there is a disconnect that needs to be addressed.

After page count, genre indicates the length of a schedule to an extent. Certain genres take longer to shoot, such as action-adventure with complicated elements like stunts or special effects. Dramas and comedies tend to be dialogue heavy and can be shot more quickly than science fiction, action, or horror that requires elaborate costumes and makeup effects and any genre where the story takes place in the past or future. For example, the description in an action film “Hero and villain fight with knives” takes up less than one line in the script but will take time to choreograph, rehearse, shoot in multiple angles for adequate editing coverage, address makeup touchups for bruising or blood and are time-intense in spite of taking up only 1/8 of a page in your screenplay. It is common for projects to span multiple genres, requiring you to read the script before deciding how the genre will impact the schedule. Creating a schedule always requires the important first step of reading a screenplay from beginning to end.

Format

CYA: How do you know? Ask.

Questions to ask before you start: what format are we shooting on— Film or Digital? The shooting format, whether digital, HD, DVC Pro, HDV, 3-D, VR, on Smartphones or Tablets, or on actual film such as 16mm, Super 16, or 35 millimeter, will impact your schedule and budget. What is the intended end-use of the film and what are the delivery requirements, if any? Festivals may require any combination of DCP, DVD or Bluray. Deliverables for a distributor may include any combination of HD Digital File, DCP, 4K or film if you have one. Shooting film is more expensive, however the industry norm has shifted to digital formats in most theaters. While uncommon, if a filmmaker needs to convert their digital film onto film for exhibition at a festival or distributor, they can “blow up” the format to film (or reformat NTSC to PAL).

Blowing up a film is the process of converting one format to another. Whether the intended use of your film is for streaming on the Internet, versus projection in a movie theater, you will need the appropriate format. Discuss this with your team: producer, AD and Director.

Film is more expensive (and delicate) than digital formats and tends to be more expensive to buy and develop. Using digital formats (tapes and P2 cards) is often cheaper; they don’t require developing like film. Digital files are also native to computer formats commonly used to edit today, like DaVinci, Adobe, Final Cut and Avid systems. When your director is shooting on digital, they will most likely have a higher shooting ratio than on film since the stock is cheaper. More footage translates into more time needed during post production to organize, sort and log that footage. Scheduling considerations for high-definition formats like 4K impact the schedule due to their extreme storage requirements. During shooting, time may be needed for the DIT (digital imaging technician) or Assistant Camera to do data management, transferring memory from cards to the computers, backing up any files and the proper organization of all media. For post production, extra time is needed to render and compress large format files. 3D movies can be created in 2 ways, either converting a standard film into 3D during post (additional time during post is required), or by shoot in stereoscopic shooting with 2 cameras which will require more gear and planning and set-up time.

Regardless of how a film is made or the type of format that the project is (film, television or episodic short video), new formats are emerging and becoming popular with the evolution of technology, such as VR (virtual reality) and transmedia. Transmedia is also known as cross media or multiplatform video; films that tell a story using several media formats and may involve a component for audience participation. A transmedia project may include any type of video, imagery, social media, book, graphic novel or comic, text online or on paper, apps and more. There is no standard type of transmedia, so if you are creating a schedule for this purpose, ask as many questions as needed to understand all of the various facets of the project and how they will intersect. Creating a schedule for transmedia work may extend a shooting schedule if elements between media must be synchronized.

Virtual reality is a rapidly growing format, becoming popular as the price and quality of production technology, and ease of stitching together the footage during the edit and the headsets, improve. VR films require multiple cameras—usually on a rig with the cameras pointing in 360 degrees to capture the 360-degree environment. These shoots often require lots of additional planning, rehearsal and blocking time just for the camera rig and crew on location to figure out how to keep the gear and crew invisible. Also, lots of time at the shoot will be required to figure out the lighting and cues for actors to avoid the stitching lines and set up remote monitoring; then, require additional rehearsal with cast to adjust to the differences of traditional shooting. Your actual shooting time will not necessarily be extended, as there are limited camera moves and there isn’t any panning or zooming the lens can do with Virtual Reality. Another point to note with virtual reality shoots is you will need at least 3–4 times more time in post than for a traditionally framed project. In virtual reality, the editor must edit together every camera that was used, sync them up and stitch lines of all the footage together, which can be very time consuming. VFX in post with VR takes considerable planning and execution and it is not unusual for a 5-minute VR video to require 6–12 weeks to conceive, write, shoot and edit. This will depend to some extent on the experience and comfort-level of the filmmakers with this technology.

Crowdfunding has become an essential aspect of independent filmmaking today. It is common for filmmakers to create a video for a crowdfunding campaign, whether a series of scenes for a sizzle reel, trailers or interviews. Creating a schedule for a crowdfunding shoot will rely on the complexity and actual components of the video. If there will be a scene acted out from the script, approach the scheduling as you would a traditional script. For interviews, allot time for makeup, hair and warm-up, so that the subjects can go through their material several times. Filmmakers often wish to promote their film during production in order to excite and engage their audience and keep investors enthusiastic and supportive. Ask the filmmakers if there are particularly dynamic scenes to shoot early in the schedule (not first if it is something challenging) to capture scenes for use in ongoing crowdfunding and fan support, publicity, promotion and social media use during the shoot process.

Shooting Ratio and Experience

The higher the shooting ratio your director prefers, the more time you will need, the more $ it will cost.

AKA: Shooting ratio = # of takes a Director requires for each shot. So, a “six to one,” 6:1 shooting ratio means the director will want to shoot 6 separate takes of one shot to feel comfortable that there will be sufficient footage, or coverage of the scene. Some directors like 10:1, others require low ratios (3:1); it depends on them.

The experience of your Director, AD and DP, principal actors and department heads will absolutely impact your schedule. Experienced actors who remember their lines every time speed things along, prepared crew with great tools and the know-how to operate them will speed things along. Vetting resumes, open communication and clear goals will help define your original schedule (you are the Under Wonder, allow for extra time whenever possible) and keep to it.

Experience relates not only to a job history, but also to their experience working with a particular format, or type of project. Inexperienced teams need more time.

Unions and Guilds

The decision to shoot union or not, and which ones to work with, can be confusing. Each union or guild has rules about working hours, pay rates and safety conditions. This choice has a resounding impact on your costs, paperwork and access to well-known and therefore marketable, cast, as well as the end use of your film. Chances are good that your producer has strong feelings on this subject either way and it will directly affect the schedule and budget, so find out sooner rather than later.

Whether to shoot union is a project-to-project decision and often relates to hiring recognized actors, which tend to be SAG-AFTRA actors, or a DGA director with IATSE crew. Generally, the cost of making a film with union talent is higher and the paperwork process is more complex. Your production has to find out the rules and rates of the union, understand and follow them, contact the local union where the project will be produced and sign paperwork to that effect.

The unions and guilds are separate entities, but work cooperatively. Their guidelines are detailed in their Basic Agreement (or MBA) either posted online, or you can get a copy from the union. It is helpful to check out the websites and speak to reps; SAGAFTRA first, then DGA, IATSE, WGA (if applicable) to understand the rules. Preferably, as far in advance as possible. The SAG-AFTRA agreements (which often drive the process) are specific about the film length, duration of the shoot, budget range and end use.

Your schedule details must abide by their guidelines (length of shooting day, arrangement of the days, hours worked, holiday, turnaround time between shooting days, meal penalty) to understand the rules and what can happen (penalties and fines) if rules are broken.

Parameters for pay rates, hours and general flexibility are tied directly to the anticipated budget range of the production (low budget, modified low budget, ultra low budget) and the type of film it is (training, experimental, student).

The minimum budget range is $50,000, except for the SAG-AFTRA New Media Agreement, created for distribution online and in new and mobile formats. The following ranges correspond to low budget production ranges according to SAG-AFTRA.

Screen Actors Guild, SAG-AFTRA: www.sagaftra.org

Directors Guild: www.DGA.org

International Alliance of Theatrical Stage Employees:

www.iatse-intl.org/home.html

Writers Guild: www.WGA.org

International Cinematographers Guild: www.cameraguild.com

International Brotherhood of Teamsters: www.teamster.org

American Federation of Musicians: www.AFM.com

The unions have rules that overlap and intersect and can seem confusing. If you don’t know whether the production you are working on will become a union project, concentrate on assembling the most logical schedule possible, then collaborate with your team to adjust it as needed.

Differing states have different rules regarding unions; your state may have a collective bargaining agreement with the union, or perhaps it is a “right-to-work” state. Areas with high populations or developed film industries tend to have a bigger pool for potential cast and crew, union or non-union. Often, the matter goes back to two issues: budget range and project goal. Thorough online research, as well as talking with other local filmmakers, production accountants, entertainment attorneys and film commissioners, can help steer you toward the right decision for your project when you are ready. (More about unions in Chapter 4).

Right-to-work states include Alabama, Arizona, Arkansas, Florida, Georgia, Idaho, Indiana, Iowa, Kansas, Louisiana, Michigan, Mississippi, Nebraska, Nevada, North Carolina, North Dakota, Oklahoma, South Carolina, South Dakota, Tennessee, Texas, Utah, Virginia, West Virginia, Wisconsin and Wyoming.

Locations

Location incentive programs are popular in the U.S. and in many other regions around the world. Film incentive programs were created to draw production to an area, creating jobs and spurring spending in a state or city.

These programs typically offer deals (no sales tax, or free location permits) or financing in the form of refundable tax credits, or tax rebates, to productions based on very specific conditions—from budget ranges to numbers of local hires. The rules change and there is an application process (it’s not a sure thing for every applicant), but these programs are driving where projects are made. To stay abreast of news about details and (frequent) updates, read up in the trades like Variety and Hollywood Reporter, Movie Maker and IndieWire and be aware that the terminology is not standardized, so ask lots of questions. Locations are an important component of filmmaking; however, you can create a schedule even if you do not know exactly where you are shooting. Most regions have websites detailing the specifics of their program, start at the Association of Film Commissioners International, www.afci.org

If your production is working with a location manager, ask about using one location site for multiple sets, access to electric, size of doorways and proximity of parking—as you may need to build in a little more time to accommodate certain conditions specific to every location.

Travel can be expensive. Movement of any kind, on a set and between sets, incurs costs and often extends your schedule, which also incurs costs. Travelling expenses, whether for transportation, lodging, per diem or fuel all add up. It’s not just the people moving from one place; often it is also the equipment. Once everyone arrives, they must be housed and fed.

Proximity of your crew and cast to the shooting sites, the sites to each other and access to them, will all impact your schedule. If the production is traveling outside of the home country, additional time and costs will be incurred for things like lodging, currency exchange, recovery from jet lag, homeland security issues, acquiring visas, lost passports, translation and so forth. This is an issue where it just depends on your film; hiring key local crew may be a more time efficient and cost efficient option than transporting everyone working on your film.

Length of Shooting Week/Day

Unions shoots dictate specifically the length of the shooting week and the day based on where the shoot is and what type of project, so if you are working on a union project, find the rules and stick to them. For certain productions, a 13-hour day might be ideal; you have to weigh that against the possibility of burn out.

There are different rules for Minors (anyone under 18); state laws apply whether you are shooting a union picture or not. Permits, limited working hours, the presence of guardians, teachers and any other support personnel are subject to labor laws on a state-by state basis.

For specific information, see the U.S. Department of Labor, Table of Child Entertainment Provisions: www.dol.gov/whd/state/childentertain.htm and check SAG-AFTRA provisions for minor performers if you are shooting with SAG-AFTRA minor actors.

Many indie filmmakers shoot when their team is “available” which can spread a production over weeks or months when principles are free. The longer the shooting is stretched out (say 30 days of shooting done over 2 months versus 30 days spread over weekends over the course of an entire year) will impact motivation, memory of the project and closeness as a group. However, there are several examples of films that were successful using this strategy, like Open Water. Each project is unique and will be driven by the goals of the core team—you, the producer, director and AD.

A grueling schedule without any days off is not likely to yield the best results—energy will flag and, as people get tired and irritable, conflicts will arise. For union productions, strict adherence must be paid to schedule parameters to avoid incurring additional expenses for overtime pay, meal penalties and turnaround times.

To manage your Calendar and adjust parameters of the work week (which can be helpful even if you don’t know the exact shoot dates)

Fig. 3.48 Open Calendar Manager

Fig. 3.49 Click on Calendar Name

Name the calendar logically (5-day, 6-day week, season, start date, whatever makes sense), add days off, holidays, try out different dates for the start of prep, prod and end of shoot and post.

Fig. 3.50 Adjust Calendar Parameters