Basic Program for Producing a Feature Film Okay, here it is. . . the basic program you will probably have to undergo to produce a feature motion picture. This program assumes that production financing is in place and that the Producer Unit is established. It is further assumed that the Director and/or the Talent may or may not be in place. By "Feature" it's meant a narrative dramatic motion picture (of any genre) that is at least ninety (90) minutes in duration. A feature can be originated on 16mm, 35mm or 65mm film stock. It can also be originated on 1/2" betacam, 1" tape or 3/4" digital or analog tape. Video tape can be transferred to 35mm or 16mm film stock. Features have even been originated in Super 8. The most universally accepted origination medium is 35mm color negative film stock. This is what is recommended. If you can't raise the money to shoot in 35mm negative and your above the line costs are about the same as your below the line costs, it is possibe to shoot your feature on 16mm, beta format tape, 1" or 3/4" tape (in that order). Digital tape looks surprisingly good when transferred to 35mm film if done at a good facility such as Image Transform in Burbank, California. However you will spend about as much making the transfer as you would have spent had you shot in 35mm. The problem with originating on tape, however, is the fact that it looks like tape. This is not to say that someday it will NOT look like tape - just that it looks like tape at the date of this writing. Also, the amount of work you will go through shooting a feature, makes the cost of the 35mm film stock shrink to insignificance, especially when viewed from the point of view of having completed the film. Do everything you can to originate on 35mm film stock - even if your shooting ratio must be very slim. The Program Anyone reading the following Program (consisting of steps called "Production Targets") could argue that life just doesn't follow orderly patterns, least of all film production. This may be true in part, but these are the basic steps you must go through to end up with a finished feature. Many of the Production Targets in the program can and do happen simultaneously or in moderately reverse order. Of course, the order in which you might have to get something done may vary due to circumstances beyond your control. Nevertheless, when things are spinning and you wonder what you need to be putting your attention on next, then next... use this program, and don't keep it a secret from the other producers on the team. Efficiency is built by doing things in as nearly the correct sequence as possible thus minimizing the need to re-do things or "building the roof on a weak foundation." Experience Required It is assumed that you are intimately familiar with the exact crew, staff, exec and talent job descriptions of each person described in the program. Producers I/T should not attempt this program on a large project until they are familiar with each job and preferably have done some or all of them for someone else and done several small programs. See "Long Range Production Goals." Films always look easier to make than they are. This is more true in the film business than other business because so much of the ingredients of a motion picture are intangible. This program, when executed, starts slow and continues to unfold with exponential speed as each step unfolds to the correct next step. Once rolling, it is the Producers' responsibility to calmly see that each person does his or her job to the best possible standard - on time and within the budget he or she has been given for the particular department. I emphasize, depending on the project you are doing, i.e., the budget, story and cast/crew requirements, etc., this program will vary. Nevertheless you will have to successfully solve, sooner or later, each of the problems presented by these steps. While being involved, the producer should cause the company to be an exciting, fun and productive place to work while accomplishing each target in the Program. Rough Order AGAIN, I EMPHASIZE, THIS PROGRAM IS IN ROUGH ORDER; SOME STEPS WILL BE DIFFERENT, SOME WILL BE OMITTED, SOME ADDED. THIS PROGRAM IS A GUIDE TO BE USED BY PRODUCERS IN DELINEATING THE DIRECTION THE SHIP WILL TAKE. ALTER THIS AS NEED BE IN WRITING USING A WORD PROCESSOR, BUT DATE AND SAVE ALL DRAFTS. General Sequence of Events Post-financing Pre-Production Producer Unit finalized All producers are operating on post with division of labor established and duties/responsibilities known. See Hats in Brief, Producer Unit. President Production Counsel Producers Start Promoting the Picture Start running notices in The Hollywood Reporter that your picture is in pre-production. State all details requested by the Reporter. Producers Assistants to the Producer Posted All Producers must have at least one crack assistant working with them assisting them with whatever comes up. Producers Hire Unit Production Manager (UPM) The Producers should have a good idea of who would be appropriate to hire as UPM for the project by now. Any UPM that has contributed his or her time and expertise in developing preliminary budgets should, of course, be given first shot at being UPM for the production. In the event no qualified individual exists at this point of the program the Line Producer interviews 5 to 10 Unit Production Managers presented by the other Producers and contracts one he trusts, believes in and enjoys working with. This manager will manage the production Unit at hand. If there are several productions, or production is going on at several locations at once, you may have a Production Manager (or a VP) who oversees each of these production units hence the term "UPM". The UPM will be signatory on the Production Account. Executive Producer Line Producer Packaging Producer UPM briefed on the Project If the UPM is not already familiar with the project, the Line Producer gives the UPM the polished, final script, the Final Approved Budget, a memo outlining the basic program and briefs him on the targeted release date, as well as the structure of the organization visualized by the Producer. Unit Production Manger receives, from the Producer or Production Counsel, the Talent/Staff/Crew agreements and becomes familiar with their provisions so he can answer minor non-legal questions for personnel. Talks with Production Counsel and Producer if needed. Suggestions, if any, are taken up at this time. Line Producer Production Counsel Production Offices are Established The Line Producer establishes a production office with help from the Producer and Unit Production Manager. Line Producer UPM Production stationary and cards made up Stationery, cards and mailing labels are created for the production with the incoming phone line(s) listed only. This is optional. Prod Secretary Contracts Drafted All Talent, Staff & Crew Employment contracts drafted and ready. If you have a company General Counsel, he may delegate each project to a Production Counsel who will oversee the contracts and legal quality control for that particular project until it is done. This will keep General Counsel free to perform his or her Company duties. By this point, make sure all basic legal documents are signed and in place and contracts to execute for additional personnel are in computer memory so you have a supply of them to be printed as needed. (See Contracts) General Counsel Production Counsel Hire Director, if not already done Packaging Producer Hire Talent, if not already done Packaging Producer Director IN and OUT phone lines expanded Incoming and outgoing phone lines are set up and policed. The incoming phone lines should be the cheapest service offered by the phone company with no out calling capability, if possible. The outgoing phone lines should be extended service lines with unlimited message units in the production area. These should have conference call, call waiting and call forwarding capabilities. Make absolutely sure no one uses the incoming lines to call out on as the bill will be astronomical. Incoming calls are free, above the basic service so more of these may be installed to receive constant updates and data on. Install 15-minute WATS lines when needed. Computers should have a dedicated line or an out going line with "tone block." Voice Mail Set Up Through your local phone company, a Voice Mail Box for all the main people in the production office as well as a main catch all Box for the Company should be set up Producer Prod Sececretary Production Computer System and Operator in place Make sure a good computer system is in place and you have on post or connections to someone who knows how to operate computers from every point of view. I suggest also having a tape backup and make absolutely certain your computer operator backs up the entire system at least once per week and that all applications are backed up onto floppys as work progress every 10 to 20 minutes. If you have problems with your computer, applications, hardware, system setup or any computer related questions or emergencies, call BackBone Enterprises at (800) 576-2001 or (610) 688-9212. You will be billed for the time, but it is worth it. Your computer system is so vital to your production, it is almost better to not even attempt production unless you understand, agree with and can apply this fact. Producers Computer Operator Casting Director Hired The Director may want to hire a Casting Director to cast part of the Principal Talent and/or all or part of the Supporting Talent. If the Director plans on personally casting the entire picture, he or she should hire a Casting Secretary instead of a Casting Director as he or she would be holding the post of Casting Director from above. Director Casting Secretary Hired Director or Casting Director hires a Casting Secretary to help with the casting. The Casting Secretary may have several PAs assigned by the Producer to help. __________ Director __________ Casting Sec Casting Cameraman Hired A cameraman who can operate a video camera and tape deck should be hired to tape the casting sessions. This cameraman does not have to be a professional cameraman with ASC credentials, just someone who knows the basics. While casting, the Director and his casting support should not operate the camera as they have much else to do. __________ UPM Director and Casting Team start Casting Balance of Picture The Director concentrates on Principals. The Casting Director concentrates on Supporting. The Casting Secretary schedules and coordinates the flow of talent. Casting Secretary may help cast Bits. If picture does not require stars, cast the supporting talent first and then, at the height of the casting momentum, cast the principal(s) or round out the production with the principal(s) required. __________ Director ___________ Casting Dir ___________ Casting Sec ___________ PAs Extras Casting Assistant Hired Director hires an Extras Casting Assistant to cast Extras and to supply SEG vouchers, if needed. Extras Casting Assistant may need PAs help, if free extras are being sought. __________ Director __________ Second AD Member Reports are received. __________ UPM Time cards are made out for Talent. __________ Second AD W-4 cards are made out and sent to VP Finance. __________ Second AD Casting sheet is done (with numbers). __________ Second AD Start getting necessary Photographic Releases signed. __________ Second AD __________ UPM Photographic Releases for non-union extras are signed. __________ Second AD Setup computer bookkeeping and payroll system A journal and ledger program is installed in the computer. This must interlock with the accountant's system back at his home office. __________ Treasurer _________ UPM _________ Prod Auditor Start Hiring and Hatting Staff & Crew As the UPM hires the rest of the Staff and Crew he hands out Hats and asks that they be studied for application and testing the next day. Sees to it that each person is checked out and keeps a log of who has been checked out and who has to be checked out. __________ Producer __________ UPM Production Secretary Hired Unit Production Manager hires a Secretary who will be Production Secretary and will supervise the Production PA Pool. __________ UPM Xerox Final Script Xerox enough copies of the script to issue to all parties with a master copy of everything kept in the production office. __________ Prod Sec Issue the Script Before distributing the script, check with the Director for distribution times and instructions. __________ Director __________ Prod Sec Establish Pool of Production Assistants The Production Assistants that are in training will report to the Assistant to the Producer and at this point are allocated to various jobs. UPM helps with the PA Pool so people new to the business can get in-the-field experience. __________ Asst Prod __________ UPM Post a Key PA A Key PA will supervise and recruit new production assistants for the Producers to allocate. __________ Line Producer __________ Asst Prod Petty Cash Account is established A petty cash account is set up by the Line Producer and placed under the control of the Unit Production Manager or a Production Auditor. Receipts are forwarded to the Treasurer. __________ Line Producer __________ UPM __________ Prod Auditor Department Head Meeting Producers arrange a meeting with the Director, Writer and Unit Production Manager to discuss existing ideas and propose various Art Directors, Directors of Photography, Editors and Composers. __________ Producers __________ Director __________ Writer __________ UPM __________ First AD __________ Asst to Prod Art Director Hired Producer or Director hires an Art Director that is approved by the UPM. When Several Art Directors are needed, a Production Designer is hired and he or she supervises and coordinates the work of all Art Directors. __________ Pack Prod __________ Director __________ UPM Location Manager Hired Location Manager is hired by the UPM and Director and reports to the UPM. __________ UPM __________ Director Brief on Locations Director, UPM, Location Manager and Art Director have Location Meeting to establish which ones are best and within budget. Location Manager knows what is needed in the way of locations from collaboration with Director, Art Director and Unit Production Manager __________ Director __________ UPM __________ Loc Manager __________ Art Director Location Scouts Hired Location Scouts are hired and briefed on the time factors as to what and when locations must be secured. Scouts are wearing their hats and reporting back regularly to the Location Manager. __________ Loc Manager Sets Ordered Built Art Director Orders sets and major props built. __________ Art Dir Director starts Location Scouting Director starts Location scouting for important locations. Location scouts may assist him. __________ Director __________ Loc Scouts Create Location Specification Folders All specifications regarding the locations are written down and any photographs and/or drawings are filed with them. __________ Director __________ Asst to Dir Location Specs to UPM UPM receives folders with candidate locations and scene number in his office. __________ Director __________ Loc Manager One-Sheet Artist Hired One sheet artist starts working on the ads that will promote the film. __________ Producer __________ Artist Start Blocking and Shooting Script Director starts blocking and writing his shooting script. __________ Director Editor Hired Line Producer and Packaging Producer hire an Editor proposed by the Director. __________ Pack Prod __________ Line Producer __________ Director DP Hired Director hires a Director of Photography. __________ Director Production Sound Mixer Hired Director hires the Production Sound Mixer. __________ Director Composer Hired Producer hires a Composer recommended by Director. __________ Director __________ Pack Prod Property Master Hired Property Master Orders or builds Props. __________ UPM Publicist Hired Packaging Producer and Editor decide on a Publicist who is hired by the Producer. __________ Pack Prod __________ Editor Time Cards Crew has filled out a time card. __________ Second AD W-4s Crew has filled out W-4s and these are sent to Tax Manager. __________ UPM __________ Tax Manager Invoices Invoices from any independent contractors are received and paid as authorized by the Budget. __________ UPM __________ Prod Aud Call Sheets Call sheets with crews' numbers are made up. __________ First Ad Dept Budgets Issued UPM informs all Department heads of their budgets and issues copies. No one gets the complete Production Budget and this is confidential. __________ UPM Lab Arranged Director and the Director of Photography ("DP") decide the look of the picture and propose labs that are suitable. UPM arranges lab contract. __________ Director __________ DP __________ UPM Establish Lab Contact Man Lab contact man is established by the UPM and made known to the Editor. __________ UPM __________ Editor Sound Arranged Sound company is arranged for. __________ UPM __________ Prod Mixer Camera Equipment Arranged Equipment rentals are arranged for. __________ UPM ___________ DP Editing Equipment Arranged Editorial equipment supply company is arranged. __________ UPM ___________ Editor Coding Company Arranged Coding of the dailies is arranged. __________ UPM __________ Editor All Talent Agreements Signed Packaging Producer and Line Producer make sure all Agreements and Photographic Releases for Talent are signed well before first start of principal photography or first call for that particular Talent. __________ Pack Prod __________ Line Producer Locations Secured In consultation with the Director, Art Director and Unit Production Manager, the Location Manager contracts for those locations the shooting schedule requires first as early as possible. If they cannot be contracted, the Location Manager and First AD work together to arrange alternate shooting schedules to solve the problem. __________ Director __________ Art Dir __________ UPM __________ Loc Manager __________ First AD Directions to Location(s) Prepared Draw up and xerox directions to each day's Location for every one on the Daily Call Sheets. __________ Second AD Balance of Crew Hired Unit Production Manager hires the rest of the crew and staff, subject to department heads proposals and approvals, in this basic order: GAFFER __________ KEY GRIP __________ WARDROBE MISTRESS (MASTER) __________ 2ND ASSISTANT DIRECTOR __________ CATERER __________ EXTRAS CASTING COORDINATOR __________ TRANSPORTATION CAPTAIN __________ CAMERA OPERATOR __________ 1ST ASSISTANT CAMERA __________ SCRIPT SUPERVISOR __________ BEST BOY (GIRL) __________ GRIP __________ GRIP/ELECTRIC/TRUCKER __________ GRIP/ELECTRIC/TRUCKER __________ BOOMMAN (BOOM MS) __________ ASSISTANT ART DIRECTOR __________ TITLES ARTIST __________ ASSISTANT PROPS __________ ASSISTANT WARDROBE __________ STILL PHOTOGRAPHER __________ KEY MAKEUP ARTIST __________ MAKEUP ARTIST __________ MAKEUP ARTIST __________ KEY HAIR STYLIST __________ HAIR STYLIST __________ ASSISTANT EDITOR __________ ASSISTANT EDITOR __________ PROMOTIONAL EDITOR __________ SPECIAL EFFECTS SUPERVISOR __________ STUNT COORDINATOR __________ MUSIC EDITOR __________ SOUND FX EDITOR __________ UTILITY PERSON __________ Add Any Additional Crew Configure the crew in accordance with the production requirements or if union signatory, in consultation with the Union and your Unit Production Manager (Add your own "Crew Addendum") __________ UPM All Contracts Signed UPM makes sure all Agreements for Production Staff & Crew are signed before start of principal photography. __________ UPM All Photographic Releases Signed Second AD makes sure all Photographic Releases for Staff & Crew are signed before start of principal photography. __________ Second AD Editing Room Set Up Editing Room is set up by the Editor in the space provided by the Producers. Sometimes an apartment in a nice peaceful area, perhaps by water, is the best place to get a quality editing job done as editing takes undisturbed concentration and sometimes weird hours when creative ideas hit. __________ Editor __________ Producers Production Meeting Held by Director and First AD Production meeting is held to introduce everybody and script run-through is done to answer questions. o Make sure department heads have been briefed on anything special they need to know. o Make sure all Hat packs handed out with org boards and that each person receiving them is briefed on the return or fine policy. o Make sure all crew understand what is expected of them and know the company policy and safety precautions. o Brief on (script) revision color codes. o Commend any WELL DONES. o Treat everybody to dinner before next day's START. __________ Director __________ First AD __________ All Staff __________ All Crew Valuable Documents Secure The Production Budget should not be left lying around the office. This instrument, in its entirety, is confidential to everyone except the Producers and the Unit Production Manager. The Unit Production Manager is ultimately responsible for office security and seeing to it that the files are locked when he or she is not present. All Valuable Documents being used during production should be keep carefully filed and locked: This includes, but is not limited to, all contracts, script masters, schedules, estimates, correspondence, checking accounts, receipts and phone numbers. These documents are the property of the Company. __________ Producers __________ UPM Scripts Handed Out All scripts and appropriate departmental budgets are handed out by now. __________ Asst Prod Shooting Schedule Handed Out Hand out the shooting schedule and any other schedules for the production. __________ First AD Call Sheets and Directions Handed Out Call sheets and location maps are handed out to Talent, Staff & Crew. __________ Second AD Principal Photography COMMENCE PRINCIPAL PHOTOGRAPHY! ___________ Production Company Promote Picture and Start of Principal Photography Make sure your notices which have been running in the Hollywood Reporter since start of pro-production are now up dated to reflect the fact that the projects has moved into principal photography. This is crucial, because Acquisition Executives at the Studios and in distribution companies will be put on alert that future product for them is in the pipeline. __________ ProducersDay ONE of Shooting Starts Shooting starts on the first location scheduled and continues according to the shooting schedule until DONE. __________ Line Producer __________ First AD Footage Being Properly Routed Unit Production Manager and Assistant Editors make sure properly labeled footage, and all accompanying paperwork, are being regularly routed to the lab for processing and printing and then to the editing room for syncing. __________ UPM __________ Asst Editor __________ Sec Asst Cam Sound is Properly Routed Unit Production Manager and Assistant Editors make sure properly labeled Audio Tapes, and all accompanying paperwork, are being regularly routed to the Sound House for transferring then to the editing room for syncing. __________ UPM __________ Asst Editor __________ Prod Mixer Sound and Picture Prepared Assistant Editors make sure all sound and picture is synchronized, coded, logged, labeled and prepared on 1,000 reels for screening. __________ Asst Editors First Dailies Screened Daily screening is occurring each night after wrap on the previous day's work. The Assistant Editor handles the workprint film and tracks and may, on occasion, act as projectionist. __________ Producers __________ Director __________ DP __________ Editor __________ Asst Editor Editor Starts Cutting Picture Editor starts cutting the picture after collaborating with the Director. __________ Editor __________ Director Unit Production Manager on post stable Unit Production Manager is on post, stable and available (personally or by delegation), as a coordinating terminal at all times. __________ UPM Ads and Production Management Assistants making regular trips between set and production office. Assistant Directors and Pas are making regular trips from the main office to the set. __________ Ads __________ Pas Promo Reel Started Promotional reel is started. __________ Promo Editor First Week of Principal Photography Smooths out The first week of principal might be a little rough and bumpy until everyone gets grooved in. As pressure points emerge, people might yell, quit or be fired, problems show themselves and dissipate as the crew, staff and producers smooth out the operations. Order resumes and things usually increasingly better from the second week on. __________ Line Producer __________ UPM Payment of Second week Bonus At the end of the second week of principal photography a bonus equal to at least one week's pay should be given to everyone in the company if things smooth down and everyone is productive. This bonus may be any size okayed by vote of the Producers, UPM and the Treasurer. __________ Producers __________ UPM __________ Treasurer President and VPs initiate new Production while current one is in progress. President and the Company get busy with the next production on the proper gradient. __________ President __________ All Execs Producers solidify marketing plans Producer(s) solidify marketing plans for the current picture just completing principal photography after working with the Director, Writer and Editor to get their input on how they feel the picture could be marketed. Two "Idea Meetings" scheduled at the Director's convenience are held for this purpose for each picture. Once these two meetings are over, the VP Marketing makes the final marketing decisions based on the ideas presented in the meetings and market surveys. The "Marketing Ideas Meetings" should be held at a social event and done in a "light" atmosphere - after all, the people who purchase movie tickets usually make their decisions at social events (by word of mouth) or as the result of "light" decisions - don't they! After carefully listening to all ideas, the Producers have final decision on how the picture will be marketed. Any development personnel of the company, also present, note how things went and could be improved on future projects under development. __________ Producers __________ Director __________ Writer __________ Editor __________ Dev Personn New Project must be financed before end of principal photography The next picture is fully financed, prior to the end of principal photography. __________ Executive Producer __________ Producer __________ Treasurer All Hat Packs Collected The Unit Production Manager collects all the Hats and is responsible to Producer for returning them. Any Crew or Staff Member who loses or damages their Hat shall have a fine deducted from their last paycheck. __________ UPM ___________ Producer Principal Photography Ends Principal Photography ends on schedule and a new production starts before the eleventh week of post production. The best Talent, Staff and Crew from the last production are asked onto the new production and if appropriate parts exist. Scripts may not be written for a particular Talent, unless that Talent finances a substantial portion of the budget. __________ Executive Producer __________ Pack Prod __________ Line Producer Post Production Editing begins as soon after the first day of Principal Photography as possible __________ Editor Editor On post each morning early __________ Editor Associate Producer supervising Post Production __________ Assoc Prod Editing Occurring each day, keeping up with the shooting pace __________ Editor Lock Lock First Half of the picture. "Locking" the picture means that the Editor is finished making changes to the picture. __________ Editor Begin Fx and music. __________ FX Editor __________ Music Editor Opticals Ordered Fades, Dissolves and other optical or special work are ordered by the Editor and created by the optical house. __________ Editor ___________ Optic House Main Titles After titles are picked by the Director, the Editor orders the Main Titles from the Title House and supervises their creation. __________ Director __________ Editor __________ Optic House Negative Cutting Started Assistant editors log the edge numbers from the work print for the Negative Cutter. __________ Asst Editor __________ Neg Cutter First Half Complete Finish first half of titles. __________ Title House Do Pickups The DP should make available several people from the Camera Crew to handle pickup shots as the Director and Editor require. __________ Director __________ Editor __________ DP/Op __________ Camera Crew End Titles Finish end titles. __________ Title House Pre-Lock Viewing for the Producers Producers should give their opinions of the show at this time but let the Director make his or her decision on how the show should be cut. It is very important that the Director and the Editor be allowed to concentrate on cutting the show without interference from any outside people or producers, otherwise the picture will lack continuity and run a risk of not doing as well at the box office. The Editor can act as liaison between the Director and the Producers and, without taking sides, support the vision of both interests. __________ Producers __________ Editor __________ Director Lock Picture Full lock of the picture. __________ Director __________ Editor ADR ADR and foley. __________ Editor __________ Asst Editor __________ ADR Techs __________ FoleyWalkers Score Music Score is spotted and finished. __________ Director __________ Composer __________ Music Editor Mix Foley, Dialogue and effects (Fx) are mixed in their own session. __________ Editor __________ Asst Editor __________ Director __________ Mixers Mix Music is mixed in its own session. __________ Editor __________ Asst Editor __________ Director __________ Mixers Sync Sync negative and (optical) tracks __________ Editor __________ Asst Editor Answer Print Get first composite answer print. __________ Editor __________ Lab Second Answer Print Get second (and other) composite answer print(s). __________ Editor __________ Lab Director Approval Director/Editor Approval of Answer print. This is the "Director's Cut" of the show. __________ Director __________ Editor Producer Approval The Producers approve the Director's Cut of the show or ask for modification until it is approved. Usually the Producer's go with the Director's Cut or one re-edit. __________ President __________ Producers G-Rated Trailer is made available Even if the picture will be some other rating, such as R, a General Audience Trailer, "G", should be created. __________ Promo Editor One sheet Created Make sure you have control of the 1-Sheet that is created. The 1-Sheet, the poster of the film that appears out side the theatres and on video jackets, is crutial to getting distribution and to getting sales with the public. Work with your distributor in creating this and/or create it yourself to perfection. __________ Producers __________ Distributor __________ Creative Dir Distribution DISTRIBUTION ALREADY ARRANGED: Producer Fulfills Delivery Requirements If Picture was made under a Production DIstribution Agreement, (the "P-D") Producers cooperate to fulfill delivery requirements. __________ Producers Cash disbursed to Production Company pursuant P-D Agreement __________ Distributor Production Company authorizes release of Picture __________ President __________ Counsel ___________ Producers ARRANGING DISTRIBUTION: Press Kit is prepared and Mailed out Create anywhere from 50 to 250 press kits. Send to acquisition executives at the studios and smaller distribution companies that are prospects for handling your type of picture. _________ Producers __________ Prod Sec Picture appears at several smaller Film Festivals Do not give the picture to acquisition people at the first festival. Promote the picture as much as possible first, possibly at several smaller festivals. Win several awards if possible. Take your publicist to the first featival to answer media questions and generate interest. Ascertain interested buyers at each Festival. __________ Producers __________ Publicist Sell Rights to Picture at a Major Film Festival Go to a major film festival with your attorney and in the lobby of the theatre where your film is showing, make a deal for the distribution of the picture. Sign with a Foreign Sales Agent or distributor who can get your picture into the Cannes Film Festival, MIFED and the American Film Markets. Maintain right to create and/or approve all ads and 1-sheets. You do not have to sell all your rights to the same distributor. Make sure you have an experienced entertainment attorney advise and negotiate the sale of rights for you. Toranto and Cannes are important Film Festivals. __________ Producers(s) ___________ Counsel Marketing strategy is determined or adjusted The Distributor contracted should know how to market the picture. Recind the Picture is it is not properly marketed. Make sure this provision is in your Distribution Agreement. __________ Distributor __________ Producer(s) __________ Counsel Picture appears Major Film Markets: Sell right to the Picture at Major Film Markets. __________ Sales Agent/ Distributor Keep Control of the Negative Never release the negative to anyone except your lab. Make arrangements for all prints to be ordered through the production company and its Lab. ___________ Producer(s) ___________ Lab Contact Talent promote picture The Publicist coordinates with Producer, Director and Talent to promote the picture at film Festivals and in media appearances. __________ Publicist __________ Talent Release Release the Picture with the appropriate market plan. __________ Distributor Receive Royalties and Undergo Recoupment As the Picture earns rental income, Producer receives royalties from the Distributor and pays back production financiers in accordance with the Production-Distribution agreement in place. Pay back any first place deferrments owed. _________ Distributor _________ Producer(s) _________ Counsel _________ Treasurer(s) Profit Allocations As the Picture goes into profit, pay out profit participations as agreed in the Production-Distribution Agreement and all Participation Agreements. Pay back any remaining deferrments owed. __________ Producers __________ Counsel __________ Treasurer Here's wishing you well with this Program! JAMES JAEGER PRODUCTION COMPANY DATA: Production Title Production No. Producer I/T Production Manager First Assistant Director Email Phone Mobil Phone Today's Date Notes: © 1990, 1999 by James R. Jaeger II All Rights Reserved
Okay, here it is. . . the basic program you will probably have to undergo to produce a feature motion picture. This program assumes that production financing is in place and that the Producer Unit is established. It is further assumed that the Director and/or the Talent may or may not be in place. By "Feature" it's meant a narrative dramatic motion picture (of any genre) that is at least ninety (90) minutes in duration. A feature can be originated on 16mm, 35mm or 65mm film stock. It can also be originated on 1/2" betacam, 1" tape or 3/4" digital or analog tape. Video tape can be transferred to 35mm or 16mm film stock. Features have even been originated in Super 8. The most universally accepted origination medium is 35mm color negative film stock. This is what is recommended. If you can't raise the money to shoot in 35mm negative and your above the line costs are about the same as your below the line costs, it is possibe to shoot your feature on 16mm, beta format tape, 1" or 3/4" tape (in that order). Digital tape looks surprisingly good when transferred to 35mm film if done at a good facility such as Image Transform in Burbank, California. However you will spend about as much making the transfer as you would have spent had you shot in 35mm. The problem with originating on tape, however, is the fact that it looks like tape. This is not to say that someday it will NOT look like tape - just that it looks like tape at the date of this writing. Also, the amount of work you will go through shooting a feature, makes the cost of the 35mm film stock shrink to insignificance, especially when viewed from the point of view of having completed the film. Do everything you can to originate on 35mm film stock - even if your shooting ratio must be very slim. The Program Anyone reading the following Program (consisting of steps called "Production Targets") could argue that life just doesn't follow orderly patterns, least of all film production. This may be true in part, but these are the basic steps you must go through to end up with a finished feature. Many of the Production Targets in the program can and do happen simultaneously or in moderately reverse order. Of course, the order in which you might have to get something done may vary due to circumstances beyond your control. Nevertheless, when things are spinning and you wonder what you need to be putting your attention on next, then next... use this program, and don't keep it a secret from the other producers on the team. Efficiency is built by doing things in as nearly the correct sequence as possible thus minimizing the need to re-do things or "building the roof on a weak foundation." Experience Required It is assumed that you are intimately familiar with the exact crew, staff, exec and talent job descriptions of each person described in the program. Producers I/T should not attempt this program on a large project until they are familiar with each job and preferably have done some or all of them for someone else and done several small programs. See "Long Range Production Goals." Films always look easier to make than they are. This is more true in the film business than other business because so much of the ingredients of a motion picture are intangible. This program, when executed, starts slow and continues to unfold with exponential speed as each step unfolds to the correct next step. Once rolling, it is the Producers' responsibility to calmly see that each person does his or her job to the best possible standard - on time and within the budget he or she has been given for the particular department. I emphasize, depending on the project you are doing, i.e., the budget, story and cast/crew requirements, etc., this program will vary. Nevertheless you will have to successfully solve, sooner or later, each of the problems presented by these steps. While being involved, the producer should cause the company to be an exciting, fun and productive place to work while accomplishing each target in the Program. Rough Order AGAIN, I EMPHASIZE, THIS PROGRAM IS IN ROUGH ORDER; SOME STEPS WILL BE DIFFERENT, SOME WILL BE OMITTED, SOME ADDED. THIS PROGRAM IS A GUIDE TO BE USED BY PRODUCERS IN DELINEATING THE DIRECTION THE SHIP WILL TAKE. ALTER THIS AS NEED BE IN WRITING USING A WORD PROCESSOR, BUT DATE AND SAVE ALL DRAFTS. General Sequence of Events Post-financing Pre-Production Producer Unit finalized All producers are operating on post with division of labor established and duties/responsibilities known. See Hats in Brief, Producer Unit. President Production Counsel Producers Start Promoting the Picture Start running notices in The Hollywood Reporter that your picture is in pre-production. State all details requested by the Reporter. Producers Assistants to the Producer Posted All Producers must have at least one crack assistant working with them assisting them with whatever comes up. Producers Hire Unit Production Manager (UPM) The Producers should have a good idea of who would be appropriate to hire as UPM for the project by now. Any UPM that has contributed his or her time and expertise in developing preliminary budgets should, of course, be given first shot at being UPM for the production. In the event no qualified individual exists at this point of the program the Line Producer interviews 5 to 10 Unit Production Managers presented by the other Producers and contracts one he trusts, believes in and enjoys working with. This manager will manage the production Unit at hand. If there are several productions, or production is going on at several locations at once, you may have a Production Manager (or a VP) who oversees each of these production units hence the term "UPM". The UPM will be signatory on the Production Account. Executive Producer Line Producer Packaging Producer UPM briefed on the Project If the UPM is not already familiar with the project, the Line Producer gives the UPM the polished, final script, the Final Approved Budget, a memo outlining the basic program and briefs him on the targeted release date, as well as the structure of the organization visualized by the Producer. Unit Production Manger receives, from the Producer or Production Counsel, the Talent/Staff/Crew agreements and becomes familiar with their provisions so he can answer minor non-legal questions for personnel. Talks with Production Counsel and Producer if needed. Suggestions, if any, are taken up at this time. Line Producer Production Counsel Production Offices are Established The Line Producer establishes a production office with help from the Producer and Unit Production Manager. Line Producer UPM Production stationary and cards made up Stationery, cards and mailing labels are created for the production with the incoming phone line(s) listed only. This is optional. Prod Secretary Contracts Drafted All Talent, Staff & Crew Employment contracts drafted and ready. If you have a company General Counsel, he may delegate each project to a Production Counsel who will oversee the contracts and legal quality control for that particular project until it is done. This will keep General Counsel free to perform his or her Company duties. By this point, make sure all basic legal documents are signed and in place and contracts to execute for additional personnel are in computer memory so you have a supply of them to be printed as needed. (See Contracts) General Counsel Production Counsel Hire Director, if not already done Packaging Producer Hire Talent, if not already done Packaging Producer Director IN and OUT phone lines expanded Incoming and outgoing phone lines are set up and policed. The incoming phone lines should be the cheapest service offered by the phone company with no out calling capability, if possible. The outgoing phone lines should be extended service lines with unlimited message units in the production area. These should have conference call, call waiting and call forwarding capabilities. Make absolutely sure no one uses the incoming lines to call out on as the bill will be astronomical. Incoming calls are free, above the basic service so more of these may be installed to receive constant updates and data on. Install 15-minute WATS lines when needed. Computers should have a dedicated line or an out going line with "tone block." Voice Mail Set Up Through your local phone company, a Voice Mail Box for all the main people in the production office as well as a main catch all Box for the Company should be set up Producer Prod Sececretary Production Computer System and Operator in place Make sure a good computer system is in place and you have on post or connections to someone who knows how to operate computers from every point of view. I suggest also having a tape backup and make absolutely certain your computer operator backs up the entire system at least once per week and that all applications are backed up onto floppys as work progress every 10 to 20 minutes. If you have problems with your computer, applications, hardware, system setup or any computer related questions or emergencies, call BackBone Enterprises at (800) 576-2001 or (610) 688-9212. You will be billed for the time, but it is worth it. Your computer system is so vital to your production, it is almost better to not even attempt production unless you understand, agree with and can apply this fact. Producers Computer Operator Casting Director Hired The Director may want to hire a Casting Director to cast part of the Principal Talent and/or all or part of the Supporting Talent. If the Director plans on personally casting the entire picture, he or she should hire a Casting Secretary instead of a Casting Director as he or she would be holding the post of Casting Director from above. Director Casting Secretary Hired Director or Casting Director hires a Casting Secretary to help with the casting. The Casting Secretary may have several PAs assigned by the Producer to help. __________ Director __________ Casting Sec Casting Cameraman Hired A cameraman who can operate a video camera and tape deck should be hired to tape the casting sessions. This cameraman does not have to be a professional cameraman with ASC credentials, just someone who knows the basics. While casting, the Director and his casting support should not operate the camera as they have much else to do. __________ UPM Director and Casting Team start Casting Balance of Picture The Director concentrates on Principals. The Casting Director concentrates on Supporting. The Casting Secretary schedules and coordinates the flow of talent. Casting Secretary may help cast Bits. If picture does not require stars, cast the supporting talent first and then, at the height of the casting momentum, cast the principal(s) or round out the production with the principal(s) required. __________ Director ___________ Casting Dir ___________ Casting Sec ___________ PAs Extras Casting Assistant Hired Director hires an Extras Casting Assistant to cast Extras and to supply SEG vouchers, if needed. Extras Casting Assistant may need PAs help, if free extras are being sought. __________ Director __________ Second AD Member Reports are received. __________ UPM Time cards are made out for Talent. __________ Second AD W-4 cards are made out and sent to VP Finance. __________ Second AD Casting sheet is done (with numbers). __________ Second AD Start getting necessary Photographic Releases signed. __________ Second AD __________ UPM Photographic Releases for non-union extras are signed. __________ Second AD Setup computer bookkeeping and payroll system A journal and ledger program is installed in the computer. This must interlock with the accountant's system back at his home office. __________ Treasurer _________ UPM _________ Prod Auditor Start Hiring and Hatting Staff & Crew As the UPM hires the rest of the Staff and Crew he hands out Hats and asks that they be studied for application and testing the next day. Sees to it that each person is checked out and keeps a log of who has been checked out and who has to be checked out. __________ Producer __________ UPM Production Secretary Hired Unit Production Manager hires a Secretary who will be Production Secretary and will supervise the Production PA Pool. __________ UPM Xerox Final Script Xerox enough copies of the script to issue to all parties with a master copy of everything kept in the production office. __________ Prod Sec Issue the Script Before distributing the script, check with the Director for distribution times and instructions. __________ Director __________ Prod Sec Establish Pool of Production Assistants The Production Assistants that are in training will report to the Assistant to the Producer and at this point are allocated to various jobs. UPM helps with the PA Pool so people new to the business can get in-the-field experience. __________ Asst Prod __________ UPM Post a Key PA A Key PA will supervise and recruit new production assistants for the Producers to allocate. __________ Line Producer __________ Asst Prod Petty Cash Account is established A petty cash account is set up by the Line Producer and placed under the control of the Unit Production Manager or a Production Auditor. Receipts are forwarded to the Treasurer. __________ Line Producer __________ UPM __________ Prod Auditor Department Head Meeting Producers arrange a meeting with the Director, Writer and Unit Production Manager to discuss existing ideas and propose various Art Directors, Directors of Photography, Editors and Composers. __________ Producers __________ Director __________ Writer __________ UPM __________ First AD __________ Asst to Prod Art Director Hired Producer or Director hires an Art Director that is approved by the UPM. When Several Art Directors are needed, a Production Designer is hired and he or she supervises and coordinates the work of all Art Directors. __________ Pack Prod __________ Director __________ UPM Location Manager Hired Location Manager is hired by the UPM and Director and reports to the UPM. __________ UPM __________ Director Brief on Locations Director, UPM, Location Manager and Art Director have Location Meeting to establish which ones are best and within budget. Location Manager knows what is needed in the way of locations from collaboration with Director, Art Director and Unit Production Manager __________ Director __________ UPM __________ Loc Manager __________ Art Director Location Scouts Hired Location Scouts are hired and briefed on the time factors as to what and when locations must be secured. Scouts are wearing their hats and reporting back regularly to the Location Manager. __________ Loc Manager Sets Ordered Built Art Director Orders sets and major props built. __________ Art Dir Director starts Location Scouting Director starts Location scouting for important locations. Location scouts may assist him. __________ Director __________ Loc Scouts Create Location Specification Folders All specifications regarding the locations are written down and any photographs and/or drawings are filed with them. __________ Director __________ Asst to Dir Location Specs to UPM UPM receives folders with candidate locations and scene number in his office. __________ Director __________ Loc Manager One-Sheet Artist Hired One sheet artist starts working on the ads that will promote the film. __________ Producer __________ Artist Start Blocking and Shooting Script Director starts blocking and writing his shooting script. __________ Director Editor Hired Line Producer and Packaging Producer hire an Editor proposed by the Director. __________ Pack Prod __________ Line Producer __________ Director DP Hired Director hires a Director of Photography. __________ Director Production Sound Mixer Hired Director hires the Production Sound Mixer. __________ Director Composer Hired Producer hires a Composer recommended by Director. __________ Director __________ Pack Prod Property Master Hired Property Master Orders or builds Props. __________ UPM Publicist Hired Packaging Producer and Editor decide on a Publicist who is hired by the Producer. __________ Pack Prod __________ Editor Time Cards Crew has filled out a time card. __________ Second AD W-4s Crew has filled out W-4s and these are sent to Tax Manager. __________ UPM __________ Tax Manager Invoices Invoices from any independent contractors are received and paid as authorized by the Budget. __________ UPM __________ Prod Aud Call Sheets Call sheets with crews' numbers are made up. __________ First Ad Dept Budgets Issued UPM informs all Department heads of their budgets and issues copies. No one gets the complete Production Budget and this is confidential. __________ UPM Lab Arranged Director and the Director of Photography ("DP") decide the look of the picture and propose labs that are suitable. UPM arranges lab contract. __________ Director __________ DP __________ UPM Establish Lab Contact Man Lab contact man is established by the UPM and made known to the Editor. __________ UPM __________ Editor Sound Arranged Sound company is arranged for. __________ UPM __________ Prod Mixer Camera Equipment Arranged Equipment rentals are arranged for. __________ UPM ___________ DP Editing Equipment Arranged Editorial equipment supply company is arranged. __________ UPM ___________ Editor Coding Company Arranged Coding of the dailies is arranged. __________ UPM __________ Editor All Talent Agreements Signed Packaging Producer and Line Producer make sure all Agreements and Photographic Releases for Talent are signed well before first start of principal photography or first call for that particular Talent. __________ Pack Prod __________ Line Producer Locations Secured In consultation with the Director, Art Director and Unit Production Manager, the Location Manager contracts for those locations the shooting schedule requires first as early as possible. If they cannot be contracted, the Location Manager and First AD work together to arrange alternate shooting schedules to solve the problem. __________ Director __________ Art Dir __________ UPM __________ Loc Manager __________ First AD Directions to Location(s) Prepared Draw up and xerox directions to each day's Location for every one on the Daily Call Sheets. __________ Second AD Balance of Crew Hired Unit Production Manager hires the rest of the crew and staff, subject to department heads proposals and approvals, in this basic order: GAFFER __________ KEY GRIP __________ WARDROBE MISTRESS (MASTER) __________ 2ND ASSISTANT DIRECTOR __________ CATERER __________ EXTRAS CASTING COORDINATOR __________ TRANSPORTATION CAPTAIN __________ CAMERA OPERATOR __________ 1ST ASSISTANT CAMERA __________ SCRIPT SUPERVISOR __________ BEST BOY (GIRL) __________ GRIP __________ GRIP/ELECTRIC/TRUCKER __________ GRIP/ELECTRIC/TRUCKER __________ BOOMMAN (BOOM MS) __________ ASSISTANT ART DIRECTOR __________ TITLES ARTIST __________ ASSISTANT PROPS __________ ASSISTANT WARDROBE __________ STILL PHOTOGRAPHER __________ KEY MAKEUP ARTIST __________ MAKEUP ARTIST __________ MAKEUP ARTIST __________ KEY HAIR STYLIST __________ HAIR STYLIST __________ ASSISTANT EDITOR __________ ASSISTANT EDITOR __________ PROMOTIONAL EDITOR __________ SPECIAL EFFECTS SUPERVISOR __________ STUNT COORDINATOR __________ MUSIC EDITOR __________ SOUND FX EDITOR __________ UTILITY PERSON __________ Add Any Additional Crew Configure the crew in accordance with the production requirements or if union signatory, in consultation with the Union and your Unit Production Manager (Add your own "Crew Addendum") __________ UPM All Contracts Signed UPM makes sure all Agreements for Production Staff & Crew are signed before start of principal photography. __________ UPM All Photographic Releases Signed Second AD makes sure all Photographic Releases for Staff & Crew are signed before start of principal photography. __________ Second AD Editing Room Set Up Editing Room is set up by the Editor in the space provided by the Producers. Sometimes an apartment in a nice peaceful area, perhaps by water, is the best place to get a quality editing job done as editing takes undisturbed concentration and sometimes weird hours when creative ideas hit. __________ Editor __________ Producers Production Meeting Held by Director and First AD Production meeting is held to introduce everybody and script run-through is done to answer questions. o Make sure department heads have been briefed on anything special they need to know. o Make sure all Hat packs handed out with org boards and that each person receiving them is briefed on the return or fine policy. o Make sure all crew understand what is expected of them and know the company policy and safety precautions. o Brief on (script) revision color codes. o Commend any WELL DONES. o Treat everybody to dinner before next day's START. __________ Director __________ First AD __________ All Staff __________ All Crew Valuable Documents Secure The Production Budget should not be left lying around the office. This instrument, in its entirety, is confidential to everyone except the Producers and the Unit Production Manager. The Unit Production Manager is ultimately responsible for office security and seeing to it that the files are locked when he or she is not present. All Valuable Documents being used during production should be keep carefully filed and locked: This includes, but is not limited to, all contracts, script masters, schedules, estimates, correspondence, checking accounts, receipts and phone numbers. These documents are the property of the Company. __________ Producers __________ UPM Scripts Handed Out All scripts and appropriate departmental budgets are handed out by now. __________ Asst Prod Shooting Schedule Handed Out Hand out the shooting schedule and any other schedules for the production. __________ First AD Call Sheets and Directions Handed Out Call sheets and location maps are handed out to Talent, Staff & Crew. __________ Second AD Principal Photography COMMENCE PRINCIPAL PHOTOGRAPHY! ___________ Production Company Promote Picture and Start of Principal Photography Make sure your notices which have been running in the Hollywood Reporter since start of pro-production are now up dated to reflect the fact that the projects has moved into principal photography. This is crucial, because Acquisition Executives at the Studios and in distribution companies will be put on alert that future product for them is in the pipeline. __________ ProducersDay ONE of Shooting Starts Shooting starts on the first location scheduled and continues according to the shooting schedule until DONE. __________ Line Producer __________ First AD Footage Being Properly Routed Unit Production Manager and Assistant Editors make sure properly labeled footage, and all accompanying paperwork, are being regularly routed to the lab for processing and printing and then to the editing room for syncing. __________ UPM __________ Asst Editor __________ Sec Asst Cam Sound is Properly Routed Unit Production Manager and Assistant Editors make sure properly labeled Audio Tapes, and all accompanying paperwork, are being regularly routed to the Sound House for transferring then to the editing room for syncing. __________ UPM __________ Asst Editor __________ Prod Mixer Sound and Picture Prepared Assistant Editors make sure all sound and picture is synchronized, coded, logged, labeled and prepared on 1,000 reels for screening. __________ Asst Editors First Dailies Screened Daily screening is occurring each night after wrap on the previous day's work. The Assistant Editor handles the workprint film and tracks and may, on occasion, act as projectionist. __________ Producers __________ Director __________ DP __________ Editor __________ Asst Editor Editor Starts Cutting Picture Editor starts cutting the picture after collaborating with the Director. __________ Editor __________ Director Unit Production Manager on post stable Unit Production Manager is on post, stable and available (personally or by delegation), as a coordinating terminal at all times. __________ UPM Ads and Production Management Assistants making regular trips between set and production office. Assistant Directors and Pas are making regular trips from the main office to the set. __________ Ads __________ Pas Promo Reel Started Promotional reel is started. __________ Promo Editor First Week of Principal Photography Smooths out The first week of principal might be a little rough and bumpy until everyone gets grooved in. As pressure points emerge, people might yell, quit or be fired, problems show themselves and dissipate as the crew, staff and producers smooth out the operations. Order resumes and things usually increasingly better from the second week on. __________ Line Producer __________ UPM Payment of Second week Bonus At the end of the second week of principal photography a bonus equal to at least one week's pay should be given to everyone in the company if things smooth down and everyone is productive. This bonus may be any size okayed by vote of the Producers, UPM and the Treasurer. __________ Producers __________ UPM __________ Treasurer President and VPs initiate new Production while current one is in progress. President and the Company get busy with the next production on the proper gradient. __________ President __________ All Execs Producers solidify marketing plans Producer(s) solidify marketing plans for the current picture just completing principal photography after working with the Director, Writer and Editor to get their input on how they feel the picture could be marketed. Two "Idea Meetings" scheduled at the Director's convenience are held for this purpose for each picture. Once these two meetings are over, the VP Marketing makes the final marketing decisions based on the ideas presented in the meetings and market surveys. The "Marketing Ideas Meetings" should be held at a social event and done in a "light" atmosphere - after all, the people who purchase movie tickets usually make their decisions at social events (by word of mouth) or as the result of "light" decisions - don't they! After carefully listening to all ideas, the Producers have final decision on how the picture will be marketed. Any development personnel of the company, also present, note how things went and could be improved on future projects under development. __________ Producers __________ Director __________ Writer __________ Editor __________ Dev Personn New Project must be financed before end of principal photography The next picture is fully financed, prior to the end of principal photography. __________ Executive Producer __________ Producer __________ Treasurer All Hat Packs Collected The Unit Production Manager collects all the Hats and is responsible to Producer for returning them. Any Crew or Staff Member who loses or damages their Hat shall have a fine deducted from their last paycheck. __________ UPM ___________ Producer Principal Photography Ends Principal Photography ends on schedule and a new production starts before the eleventh week of post production. The best Talent, Staff and Crew from the last production are asked onto the new production and if appropriate parts exist. Scripts may not be written for a particular Talent, unless that Talent finances a substantial portion of the budget. __________ Executive Producer __________ Pack Prod __________ Line Producer Post Production Editing begins as soon after the first day of Principal Photography as possible __________ Editor Editor On post each morning early __________ Editor Associate Producer supervising Post Production __________ Assoc Prod Editing Occurring each day, keeping up with the shooting pace __________ Editor Lock Lock First Half of the picture. "Locking" the picture means that the Editor is finished making changes to the picture. __________ Editor Begin Fx and music. __________ FX Editor __________ Music Editor Opticals Ordered Fades, Dissolves and other optical or special work are ordered by the Editor and created by the optical house. __________ Editor ___________ Optic House Main Titles After titles are picked by the Director, the Editor orders the Main Titles from the Title House and supervises their creation. __________ Director __________ Editor __________ Optic House Negative Cutting Started Assistant editors log the edge numbers from the work print for the Negative Cutter. __________ Asst Editor __________ Neg Cutter First Half Complete Finish first half of titles. __________ Title House Do Pickups The DP should make available several people from the Camera Crew to handle pickup shots as the Director and Editor require. __________ Director __________ Editor __________ DP/Op __________ Camera Crew End Titles Finish end titles. __________ Title House Pre-Lock Viewing for the Producers Producers should give their opinions of the show at this time but let the Director make his or her decision on how the show should be cut. It is very important that the Director and the Editor be allowed to concentrate on cutting the show without interference from any outside people or producers, otherwise the picture will lack continuity and run a risk of not doing as well at the box office. The Editor can act as liaison between the Director and the Producers and, without taking sides, support the vision of both interests. __________ Producers __________ Editor __________ Director Lock Picture Full lock of the picture. __________ Director __________ Editor ADR ADR and foley. __________ Editor __________ Asst Editor __________ ADR Techs __________ FoleyWalkers Score Music Score is spotted and finished. __________ Director __________ Composer __________ Music Editor Mix Foley, Dialogue and effects (Fx) are mixed in their own session. __________ Editor __________ Asst Editor __________ Director __________ Mixers Mix Music is mixed in its own session. __________ Editor __________ Asst Editor __________ Director __________ Mixers Sync Sync negative and (optical) tracks __________ Editor __________ Asst Editor Answer Print Get first composite answer print. __________ Editor __________ Lab Second Answer Print Get second (and other) composite answer print(s). __________ Editor __________ Lab Director Approval Director/Editor Approval of Answer print. This is the "Director's Cut" of the show. __________ Director __________ Editor Producer Approval The Producers approve the Director's Cut of the show or ask for modification until it is approved. Usually the Producer's go with the Director's Cut or one re-edit. __________ President __________ Producers G-Rated Trailer is made available Even if the picture will be some other rating, such as R, a General Audience Trailer, "G", should be created. __________ Promo Editor One sheet Created Make sure you have control of the 1-Sheet that is created. The 1-Sheet, the poster of the film that appears out side the theatres and on video jackets, is crutial to getting distribution and to getting sales with the public. Work with your distributor in creating this and/or create it yourself to perfection. __________ Producers __________ Distributor __________ Creative Dir Distribution DISTRIBUTION ALREADY ARRANGED: Producer Fulfills Delivery Requirements If Picture was made under a Production DIstribution Agreement, (the "P-D") Producers cooperate to fulfill delivery requirements. __________ Producers Cash disbursed to Production Company pursuant P-D Agreement __________ Distributor Production Company authorizes release of Picture __________ President __________ Counsel ___________ Producers ARRANGING DISTRIBUTION: Press Kit is prepared and Mailed out Create anywhere from 50 to 250 press kits. Send to acquisition executives at the studios and smaller distribution companies that are prospects for handling your type of picture. _________ Producers __________ Prod Sec Picture appears at several smaller Film Festivals Do not give the picture to acquisition people at the first festival. Promote the picture as much as possible first, possibly at several smaller festivals. Win several awards if possible. Take your publicist to the first featival to answer media questions and generate interest. Ascertain interested buyers at each Festival. __________ Producers __________ Publicist Sell Rights to Picture at a Major Film Festival Go to a major film festival with your attorney and in the lobby of the theatre where your film is showing, make a deal for the distribution of the picture. Sign with a Foreign Sales Agent or distributor who can get your picture into the Cannes Film Festival, MIFED and the American Film Markets. Maintain right to create and/or approve all ads and 1-sheets. You do not have to sell all your rights to the same distributor. Make sure you have an experienced entertainment attorney advise and negotiate the sale of rights for you. Toranto and Cannes are important Film Festivals. __________ Producers(s) ___________ Counsel Marketing strategy is determined or adjusted The Distributor contracted should know how to market the picture. Recind the Picture is it is not properly marketed. Make sure this provision is in your Distribution Agreement. __________ Distributor __________ Producer(s) __________ Counsel Picture appears Major Film Markets: Sell right to the Picture at Major Film Markets. __________ Sales Agent/ Distributor Keep Control of the Negative Never release the negative to anyone except your lab. Make arrangements for all prints to be ordered through the production company and its Lab. ___________ Producer(s) ___________ Lab Contact Talent promote picture The Publicist coordinates with Producer, Director and Talent to promote the picture at film Festivals and in media appearances. __________ Publicist __________ Talent Release Release the Picture with the appropriate market plan. __________ Distributor Receive Royalties and Undergo Recoupment As the Picture earns rental income, Producer receives royalties from the Distributor and pays back production financiers in accordance with the Production-Distribution agreement in place. Pay back any first place deferrments owed. _________ Distributor _________ Producer(s) _________ Counsel _________ Treasurer(s) Profit Allocations As the Picture goes into profit, pay out profit participations as agreed in the Production-Distribution Agreement and all Participation Agreements. Pay back any remaining deferrments owed. __________ Producers __________ Counsel __________ Treasurer Here's wishing you well with this Program! JAMES JAEGER PRODUCTION COMPANY DATA: Production Title Production No. Producer I/T Production Manager First Assistant Director Email Phone Mobil Phone Today's Date Notes:
Okay, here it is. . . the basic program you will probably have to undergo to produce a feature motion picture.
This program assumes that production financing is in place and that the Producer Unit is established. It is further assumed that the Director and/or the Talent may or may not be in place.
By "Feature" it's meant a narrative dramatic motion picture (of any genre) that is at least ninety (90) minutes in duration.
A feature can be originated on 16mm, 35mm or 65mm film stock. It can also be originated on 1/2" betacam, 1" tape or 3/4" digital or analog tape. Video tape can be transferred to 35mm or 16mm film stock. Features have even been originated in Super 8.
The most universally accepted origination medium is 35mm color negative film stock. This is what is recommended.
If you can't raise the money to shoot in 35mm negative and your above the line costs are about the same as your below the line costs, it is possibe to shoot your feature on 16mm, beta format tape, 1" or 3/4" tape (in that order).
Digital tape looks surprisingly good when transferred to 35mm film if done at a good facility such as Image Transform in Burbank, California. However you will spend about as much making the transfer as you would have spent had you shot in 35mm.
The problem with originating on tape, however, is the fact that it looks like tape. This is not to say that someday it will NOT look like tape - just that it looks like tape at the date of this writing.
Also, the amount of work you will go through shooting a feature, makes the cost of the 35mm film stock shrink to insignificance, especially when viewed from the point of view of having completed the film. Do everything you can to originate on 35mm film stock - even if your shooting ratio must be very slim.
Anyone reading the following Program (consisting of steps called "Production Targets") could argue that life just doesn't follow orderly patterns, least of all film production. This may be true in part, but these are the basic steps you must go through to end up with a finished feature.
Many of the Production Targets in the program can and do happen simultaneously or in moderately reverse order. Of course, the order in which you might have to get something done may vary due to circumstances beyond your control. Nevertheless, when things are spinning and you wonder what you need to be putting your attention on next, then next... use this program, and don't keep it a secret from the other producers on the team. Efficiency is built by doing things in as nearly the correct sequence as possible thus minimizing the need to re-do things or "building the roof on a weak foundation."
It is assumed that you are intimately familiar with the exact crew, staff, exec and talent job descriptions of each person described in the program.
Producers I/T should not attempt this program on a large project until they are familiar with each job and preferably have done some or all of them for someone else and done several small programs. See "Long Range Production Goals."
Films always look easier to make than they are. This is more true in the film business than other business because so much of the ingredients of a motion picture are intangible.
This program, when executed, starts slow and continues to unfold with exponential speed as each step unfolds to the correct next step.
Once rolling, it is the Producers' responsibility to calmly see that each person does his or her job to the best possible standard - on time and within the budget he or she has been given for the particular department.
I emphasize, depending on the project you are doing, i.e., the budget, story and cast/crew requirements, etc., this program will vary. Nevertheless you will have to successfully solve, sooner or later, each of the problems presented by these steps.
While being involved, the producer should cause the company to be an exciting, fun and productive place to work while accomplishing each target in the Program.
AGAIN, I EMPHASIZE, THIS PROGRAM IS IN ROUGH ORDER; SOME STEPS WILL BE DIFFERENT, SOME WILL BE OMITTED, SOME ADDED. THIS PROGRAM IS A GUIDE TO BE USED BY PRODUCERS IN DELINEATING THE DIRECTION THE SHIP WILL TAKE. ALTER THIS AS NEED BE IN WRITING USING A WORD PROCESSOR, BUT DATE AND SAVE ALL DRAFTS.
Producer Unit finalized All producers are operating on post with division of labor established and duties/responsibilities known. See Hats in Brief, Producer Unit.
President Production Counsel Producers
Start Promoting the Picture Start running notices in The Hollywood Reporter that your picture is in pre-production. State all details requested by the Reporter.
Producers
Assistants to the Producer Posted All Producers must have at least one crack assistant working with them assisting them with whatever comes up.
Hire Unit Production Manager (UPM) The Producers should have a good idea of who would be appropriate to hire as UPM for the project by now. Any UPM that has contributed his or her time and expertise in developing preliminary budgets should, of course, be given first shot at being UPM for the production. In the event no qualified individual exists at this point of the program the Line Producer interviews 5 to 10 Unit Production Managers presented by the other Producers and contracts one he trusts, believes in and enjoys working with. This manager will manage the production Unit at hand. If there are several productions, or production is going on at several locations at once, you may have a Production Manager (or a VP) who oversees each of these production units hence the term "UPM". The UPM will be signatory on the Production Account.
Executive Producer Line Producer Packaging Producer
UPM briefed on the Project If the UPM is not already familiar with the project, the Line Producer gives the UPM the polished, final script, the Final Approved Budget, a memo outlining the basic program and briefs him on the targeted release date, as well as the structure of the organization visualized by the Producer. Unit Production Manger receives, from the Producer or Production Counsel, the Talent/Staff/Crew agreements and becomes familiar with their provisions so he can answer minor non-legal questions for personnel. Talks with Production Counsel and Producer if needed. Suggestions, if any, are taken up at this time.
Line Producer Production Counsel
Production Offices are Established The Line Producer establishes a production office with help from the Producer and Unit Production Manager.
Line Producer UPM
Production stationary and cards made up Stationery, cards and mailing labels are created for the production with the incoming phone line(s) listed only. This is optional.
Prod Secretary
Contracts Drafted All Talent, Staff & Crew Employment contracts drafted and ready. If you have a company General Counsel, he may delegate each project to a Production Counsel who will oversee the contracts and legal quality control for that particular project until it is done. This will keep General Counsel free to perform his or her Company duties.
By this point, make sure all basic legal documents are signed and in place and contracts to execute for additional personnel are in computer memory so you have a supply of them to be printed as needed. (See Contracts)
General Counsel Production Counsel
Hire Director, if not already done
Packaging Producer
Hire Talent, if not already done
Packaging Producer Director
IN and OUT phone lines expanded Incoming and outgoing phone lines are set up and policed. The incoming phone lines should be the cheapest service offered by the phone company with no out calling capability, if possible. The outgoing phone lines should be extended service lines with unlimited message units in the production area. These should have conference call, call waiting and call forwarding capabilities.
Make absolutely sure no one uses the incoming lines to call out on as the bill will be astronomical. Incoming calls are free, above the basic service so more of these may be installed to receive constant updates and data on. Install 15-minute WATS lines when needed. Computers should have a dedicated line or an out going line with "tone block."
Voice Mail Set Up Through your local phone company, a Voice Mail Box for all the main people in the production office as well as a main catch all Box for the Company should be set up
Producer Prod Sececretary
Production Computer System and Operator in place Make sure a good computer system is in place and you have on post or connections to someone who knows how to operate computers from every point of view.
I suggest also having a tape backup and make absolutely certain your computer operator backs up the entire system at least once per week and that all applications are backed up onto floppys as work progress every 10 to 20 minutes.
If you have problems with your computer, applications, hardware, system setup or any computer related questions or emergencies, call BackBone Enterprises at (800) 576-2001 or (610) 688-9212. You will be billed for the time, but it is worth it. Your computer system is so vital to your production, it is almost better to not even attempt production unless you understand, agree with and can apply this fact.
Producers Computer Operator
Casting Director Hired The Director may want to hire a Casting Director to cast part of the Principal Talent and/or all or part of the Supporting Talent. If the Director plans on personally casting the entire picture, he or she should hire a Casting Secretary instead of a Casting Director as he or she would be holding the post of Casting Director from above.
Director
Director or Casting Director hires a Casting Secretary to help with the casting. The Casting Secretary may have several PAs assigned by the Producer to help. __________ Director __________ Casting Sec Casting Cameraman Hired A cameraman who can operate a video camera and tape deck should be hired to tape the casting sessions. This cameraman does not have to be a professional cameraman with ASC credentials, just someone who knows the basics. While casting, the Director and his casting support should not operate the camera as they have much else to do. __________ UPM Director and Casting Team start Casting Balance of Picture The Director concentrates on Principals. The Casting Director concentrates on Supporting. The Casting Secretary schedules and coordinates the flow of talent. Casting Secretary may help cast Bits. If picture does not require stars, cast the supporting talent first and then, at the height of the casting momentum, cast the principal(s) or round out the production with the principal(s) required. __________ Director ___________ Casting Dir ___________ Casting Sec ___________ PAs Extras Casting Assistant Hired Director hires an Extras Casting Assistant to cast Extras and to supply SEG vouchers, if needed. Extras Casting Assistant may need PAs help, if free extras are being sought. __________ Director __________ Second AD Member Reports are received. __________ UPM Time cards are made out for Talent. __________ Second AD W-4 cards are made out and sent to VP Finance. __________ Second AD Casting sheet is done (with numbers). __________ Second AD Start getting necessary Photographic Releases signed. __________ Second AD __________ UPM Photographic Releases for non-union extras are signed. __________ Second AD Setup computer bookkeeping and payroll system A journal and ledger program is installed in the computer. This must interlock with the accountant's system back at his home office. __________ Treasurer _________ UPM _________ Prod Auditor Start Hiring and Hatting Staff & Crew As the UPM hires the rest of the Staff and Crew he hands out Hats and asks that they be studied for application and testing the next day. Sees to it that each person is checked out and keeps a log of who has been checked out and who has to be checked out. __________ Producer __________ UPM Production Secretary Hired Unit Production Manager hires a Secretary who will be Production Secretary and will supervise the Production PA Pool. __________ UPM Xerox Final Script Xerox enough copies of the script to issue to all parties with a master copy of everything kept in the production office. __________ Prod Sec Issue the Script Before distributing the script, check with the Director for distribution times and instructions. __________ Director __________ Prod Sec Establish Pool of Production Assistants The Production Assistants that are in training will report to the Assistant to the Producer and at this point are allocated to various jobs. UPM helps with the PA Pool so people new to the business can get in-the-field experience. __________ Asst Prod __________ UPM Post a Key PA A Key PA will supervise and recruit new production assistants for the Producers to allocate. __________ Line Producer __________ Asst Prod Petty Cash Account is established A petty cash account is set up by the Line Producer and placed under the control of the Unit Production Manager or a Production Auditor. Receipts are forwarded to the Treasurer. __________ Line Producer __________ UPM __________ Prod Auditor Department Head Meeting Producers arrange a meeting with the Director, Writer and Unit Production Manager to discuss existing ideas and propose various Art Directors, Directors of Photography, Editors and Composers. __________ Producers __________ Director __________ Writer __________ UPM __________ First AD __________ Asst to Prod Art Director Hired Producer or Director hires an Art Director that is approved by the UPM. When Several Art Directors are needed, a Production Designer is hired and he or she supervises and coordinates the work of all Art Directors. __________ Pack Prod __________ Director __________ UPM Location Manager Hired Location Manager is hired by the UPM and Director and reports to the UPM. __________ UPM __________ Director Brief on Locations Director, UPM, Location Manager and Art Director have Location Meeting to establish which ones are best and within budget. Location Manager knows what is needed in the way of locations from collaboration with Director, Art Director and Unit Production Manager __________ Director __________ UPM __________ Loc Manager __________ Art Director Location Scouts Hired Location Scouts are hired and briefed on the time factors as to what and when locations must be secured. Scouts are wearing their hats and reporting back regularly to the Location Manager. __________ Loc Manager Sets Ordered Built Art Director Orders sets and major props built. __________ Art Dir Director starts Location Scouting Director starts Location scouting for important locations. Location scouts may assist him. __________ Director __________ Loc Scouts Create Location Specification Folders All specifications regarding the locations are written down and any photographs and/or drawings are filed with them. __________ Director __________ Asst to Dir Location Specs to UPM UPM receives folders with candidate locations and scene number in his office. __________ Director __________ Loc Manager One-Sheet Artist Hired One sheet artist starts working on the ads that will promote the film. __________ Producer __________ Artist Start Blocking and Shooting Script Director starts blocking and writing his shooting script. __________ Director Editor Hired Line Producer and Packaging Producer hire an Editor proposed by the Director. __________ Pack Prod __________ Line Producer __________ Director DP Hired Director hires a Director of Photography. __________ Director Production Sound Mixer Hired Director hires the Production Sound Mixer. __________ Director Composer Hired Producer hires a Composer recommended by Director. __________ Director __________ Pack Prod Property Master Hired Property Master Orders or builds Props. __________ UPM Publicist Hired Packaging Producer and Editor decide on a Publicist who is hired by the Producer. __________ Pack Prod __________ Editor Time Cards Crew has filled out a time card. __________ Second AD W-4s Crew has filled out W-4s and these are sent to Tax Manager. __________ UPM __________ Tax Manager Invoices Invoices from any independent contractors are received and paid as authorized by the Budget. __________ UPM __________ Prod Aud Call Sheets Call sheets with crews' numbers are made up. __________ First Ad Dept Budgets Issued UPM informs all Department heads of their budgets and issues copies. No one gets the complete Production Budget and this is confidential. __________ UPM Lab Arranged Director and the Director of Photography ("DP") decide the look of the picture and propose labs that are suitable. UPM arranges lab contract. __________ Director __________ DP __________ UPM Establish Lab Contact Man Lab contact man is established by the UPM and made known to the Editor. __________ UPM __________ Editor Sound Arranged Sound company is arranged for. __________ UPM __________ Prod Mixer Camera Equipment Arranged Equipment rentals are arranged for. __________ UPM ___________ DP Editing Equipment Arranged Editorial equipment supply company is arranged. __________ UPM ___________ Editor Coding Company Arranged Coding of the dailies is arranged. __________ UPM __________ Editor All Talent Agreements Signed Packaging Producer and Line Producer make sure all Agreements and Photographic Releases for Talent are signed well before first start of principal photography or first call for that particular Talent. __________ Pack Prod __________ Line Producer Locations Secured In consultation with the Director, Art Director and Unit Production Manager, the Location Manager contracts for those locations the shooting schedule requires first as early as possible. If they cannot be contracted, the Location Manager and First AD work together to arrange alternate shooting schedules to solve the problem. __________ Director __________ Art Dir __________ UPM __________ Loc Manager __________ First AD Directions to Location(s) Prepared Draw up and xerox directions to each day's Location for every one on the Daily Call Sheets. __________ Second AD Balance of Crew Hired Unit Production Manager hires the rest of the crew and staff, subject to department heads proposals and approvals, in this basic order: GAFFER __________ KEY GRIP __________ WARDROBE MISTRESS (MASTER) __________ 2ND ASSISTANT DIRECTOR __________ CATERER __________ EXTRAS CASTING COORDINATOR __________ TRANSPORTATION CAPTAIN __________ CAMERA OPERATOR __________ 1ST ASSISTANT CAMERA __________ SCRIPT SUPERVISOR __________ BEST BOY (GIRL) __________ GRIP __________ GRIP/ELECTRIC/TRUCKER __________ GRIP/ELECTRIC/TRUCKER __________ BOOMMAN (BOOM MS) __________ ASSISTANT ART DIRECTOR __________ TITLES ARTIST __________ ASSISTANT PROPS __________ ASSISTANT WARDROBE __________ STILL PHOTOGRAPHER __________ KEY MAKEUP ARTIST __________ MAKEUP ARTIST __________ MAKEUP ARTIST __________ KEY HAIR STYLIST __________ HAIR STYLIST __________ ASSISTANT EDITOR __________ ASSISTANT EDITOR __________ PROMOTIONAL EDITOR __________ SPECIAL EFFECTS SUPERVISOR __________ STUNT COORDINATOR __________ MUSIC EDITOR __________ SOUND FX EDITOR __________ UTILITY PERSON __________ Add Any Additional Crew Configure the crew in accordance with the production requirements or if union signatory, in consultation with the Union and your Unit Production Manager (Add your own "Crew Addendum") __________ UPM All Contracts Signed UPM makes sure all Agreements for Production Staff & Crew are signed before start of principal photography. __________ UPM All Photographic Releases Signed Second AD makes sure all Photographic Releases for Staff & Crew are signed before start of principal photography. __________ Second AD Editing Room Set Up Editing Room is set up by the Editor in the space provided by the Producers. Sometimes an apartment in a nice peaceful area, perhaps by water, is the best place to get a quality editing job done as editing takes undisturbed concentration and sometimes weird hours when creative ideas hit. __________ Editor __________ Producers Production Meeting Held by Director and First AD Production meeting is held to introduce everybody and script run-through is done to answer questions. o Make sure department heads have been briefed on anything special they need to know. o Make sure all Hat packs handed out with org boards and that each person receiving them is briefed on the return or fine policy. o Make sure all crew understand what is expected of them and know the company policy and safety precautions. o Brief on (script) revision color codes. o Commend any WELL DONES. o Treat everybody to dinner before next day's START. __________ Director __________ First AD __________ All Staff __________ All Crew Valuable Documents Secure The Production Budget should not be left lying around the office. This instrument, in its entirety, is confidential to everyone except the Producers and the Unit Production Manager. The Unit Production Manager is ultimately responsible for office security and seeing to it that the files are locked when he or she is not present. All Valuable Documents being used during production should be keep carefully filed and locked: This includes, but is not limited to, all contracts, script masters, schedules, estimates, correspondence, checking accounts, receipts and phone numbers. These documents are the property of the Company. __________ Producers __________ UPM Scripts Handed Out All scripts and appropriate departmental budgets are handed out by now. __________ Asst Prod Shooting Schedule Handed Out Hand out the shooting schedule and any other schedules for the production. __________ First AD Call Sheets and Directions Handed Out Call sheets and location maps are handed out to Talent, Staff & Crew. __________ Second AD Principal Photography COMMENCE PRINCIPAL PHOTOGRAPHY! ___________ Production Company Promote Picture and Start of Principal Photography Make sure your notices which have been running in the Hollywood Reporter since start of pro-production are now up dated to reflect the fact that the projects has moved into principal photography. This is crucial, because Acquisition Executives at the Studios and in distribution companies will be put on alert that future product for them is in the pipeline. __________ ProducersDay ONE of Shooting Starts Shooting starts on the first location scheduled and continues according to the shooting schedule until DONE. __________ Line Producer __________ First AD Footage Being Properly Routed Unit Production Manager and Assistant Editors make sure properly labeled footage, and all accompanying paperwork, are being regularly routed to the lab for processing and printing and then to the editing room for syncing. __________ UPM __________ Asst Editor __________ Sec Asst Cam Sound is Properly Routed Unit Production Manager and Assistant Editors make sure properly labeled Audio Tapes, and all accompanying paperwork, are being regularly routed to the Sound House for transferring then to the editing room for syncing. __________ UPM __________ Asst Editor __________ Prod Mixer Sound and Picture Prepared Assistant Editors make sure all sound and picture is synchronized, coded, logged, labeled and prepared on 1,000 reels for screening. __________ Asst Editors First Dailies Screened Daily screening is occurring each night after wrap on the previous day's work. The Assistant Editor handles the workprint film and tracks and may, on occasion, act as projectionist. __________ Producers __________ Director __________ DP __________ Editor __________ Asst Editor Editor Starts Cutting Picture Editor starts cutting the picture after collaborating with the Director. __________ Editor __________ Director Unit Production Manager on post stable Unit Production Manager is on post, stable and available (personally or by delegation), as a coordinating terminal at all times. __________ UPM Ads and Production Management Assistants making regular trips between set and production office. Assistant Directors and Pas are making regular trips from the main office to the set. __________ Ads __________ Pas Promo Reel Started Promotional reel is started. __________ Promo Editor First Week of Principal Photography Smooths out The first week of principal might be a little rough and bumpy until everyone gets grooved in. As pressure points emerge, people might yell, quit or be fired, problems show themselves and dissipate as the crew, staff and producers smooth out the operations. Order resumes and things usually increasingly better from the second week on. __________ Line Producer __________ UPM Payment of Second week Bonus At the end of the second week of principal photography a bonus equal to at least one week's pay should be given to everyone in the company if things smooth down and everyone is productive. This bonus may be any size okayed by vote of the Producers, UPM and the Treasurer. __________ Producers __________ UPM __________ Treasurer President and VPs initiate new Production while current one is in progress. President and the Company get busy with the next production on the proper gradient. __________ President __________ All Execs Producers solidify marketing plans Producer(s) solidify marketing plans for the current picture just completing principal photography after working with the Director, Writer and Editor to get their input on how they feel the picture could be marketed. Two "Idea Meetings" scheduled at the Director's convenience are held for this purpose for each picture. Once these two meetings are over, the VP Marketing makes the final marketing decisions based on the ideas presented in the meetings and market surveys. The "Marketing Ideas Meetings" should be held at a social event and done in a "light" atmosphere - after all, the people who purchase movie tickets usually make their decisions at social events (by word of mouth) or as the result of "light" decisions - don't they! After carefully listening to all ideas, the Producers have final decision on how the picture will be marketed. Any development personnel of the company, also present, note how things went and could be improved on future projects under development. __________ Producers __________ Director __________ Writer __________ Editor __________ Dev Personn New Project must be financed before end of principal photography The next picture is fully financed, prior to the end of principal photography. __________ Executive Producer __________ Producer __________ Treasurer All Hat Packs Collected The Unit Production Manager collects all the Hats and is responsible to Producer for returning them. Any Crew or Staff Member who loses or damages their Hat shall have a fine deducted from their last paycheck. __________ UPM ___________ Producer Principal Photography Ends Principal Photography ends on schedule and a new production starts before the eleventh week of post production. The best Talent, Staff and Crew from the last production are asked onto the new production and if appropriate parts exist. Scripts may not be written for a particular Talent, unless that Talent finances a substantial portion of the budget. __________ Executive Producer __________ Pack Prod __________ Line Producer Post Production Editing begins as soon after the first day of Principal Photography as possible __________ Editor Editor On post each morning early __________ Editor Associate Producer supervising Post Production __________ Assoc Prod Editing Occurring each day, keeping up with the shooting pace __________ Editor Lock Lock First Half of the picture. "Locking" the picture means that the Editor is finished making changes to the picture. __________ Editor Begin Fx and music. __________ FX Editor __________ Music Editor Opticals Ordered Fades, Dissolves and other optical or special work are ordered by the Editor and created by the optical house. __________ Editor ___________ Optic House Main Titles After titles are picked by the Director, the Editor orders the Main Titles from the Title House and supervises their creation. __________ Director __________ Editor __________ Optic House Negative Cutting Started Assistant editors log the edge numbers from the work print for the Negative Cutter. __________ Asst Editor __________ Neg Cutter First Half Complete Finish first half of titles. __________ Title House Do Pickups The DP should make available several people from the Camera Crew to handle pickup shots as the Director and Editor require. __________ Director __________ Editor __________ DP/Op __________ Camera Crew End Titles Finish end titles. __________ Title House Pre-Lock Viewing for the Producers Producers should give their opinions of the show at this time but let the Director make his or her decision on how the show should be cut. It is very important that the Director and the Editor be allowed to concentrate on cutting the show without interference from any outside people or producers, otherwise the picture will lack continuity and run a risk of not doing as well at the box office. The Editor can act as liaison between the Director and the Producers and, without taking sides, support the vision of both interests. __________ Producers __________ Editor __________ Director Lock Picture Full lock of the picture. __________ Director __________ Editor ADR ADR and foley. __________ Editor __________ Asst Editor __________ ADR Techs __________ FoleyWalkers Score Music Score is spotted and finished. __________ Director __________ Composer __________ Music Editor Mix Foley, Dialogue and effects (Fx) are mixed in their own session. __________ Editor __________ Asst Editor __________ Director __________ Mixers Mix Music is mixed in its own session. __________ Editor __________ Asst Editor __________ Director __________ Mixers Sync Sync negative and (optical) tracks __________ Editor __________ Asst Editor Answer Print Get first composite answer print. __________ Editor __________ Lab Second Answer Print Get second (and other) composite answer print(s). __________ Editor __________ Lab Director Approval Director/Editor Approval of Answer print. This is the "Director's Cut" of the show. __________ Director __________ Editor Producer Approval The Producers approve the Director's Cut of the show or ask for modification until it is approved. Usually the Producer's go with the Director's Cut or one re-edit. __________ President __________ Producers G-Rated Trailer is made available Even if the picture will be some other rating, such as R, a General Audience Trailer, "G", should be created. __________ Promo Editor One sheet Created Make sure you have control of the 1-Sheet that is created. The 1-Sheet, the poster of the film that appears out side the theatres and on video jackets, is crutial to getting distribution and to getting sales with the public. Work with your distributor in creating this and/or create it yourself to perfection. __________ Producers __________ Distributor __________ Creative Dir Distribution DISTRIBUTION ALREADY ARRANGED: Producer Fulfills Delivery Requirements If Picture was made under a Production DIstribution Agreement, (the "P-D") Producers cooperate to fulfill delivery requirements. __________ Producers Cash disbursed to Production Company pursuant P-D Agreement __________ Distributor Production Company authorizes release of Picture __________ President __________ Counsel ___________ Producers ARRANGING DISTRIBUTION: Press Kit is prepared and Mailed out Create anywhere from 50 to 250 press kits. Send to acquisition executives at the studios and smaller distribution companies that are prospects for handling your type of picture. _________ Producers __________ Prod Sec Picture appears at several smaller Film Festivals Do not give the picture to acquisition people at the first festival. Promote the picture as much as possible first, possibly at several smaller festivals. Win several awards if possible. Take your publicist to the first featival to answer media questions and generate interest. Ascertain interested buyers at each Festival. __________ Producers __________ Publicist Sell Rights to Picture at a Major Film Festival Go to a major film festival with your attorney and in the lobby of the theatre where your film is showing, make a deal for the distribution of the picture. Sign with a Foreign Sales Agent or distributor who can get your picture into the Cannes Film Festival, MIFED and the American Film Markets. Maintain right to create and/or approve all ads and 1-sheets. You do not have to sell all your rights to the same distributor. Make sure you have an experienced entertainment attorney advise and negotiate the sale of rights for you. Toranto and Cannes are important Film Festivals. __________ Producers(s) ___________ Counsel Marketing strategy is determined or adjusted The Distributor contracted should know how to market the picture. Recind the Picture is it is not properly marketed. Make sure this provision is in your Distribution Agreement. __________ Distributor __________ Producer(s) __________ Counsel Picture appears Major Film Markets: Sell right to the Picture at Major Film Markets. __________ Sales Agent/ Distributor Keep Control of the Negative Never release the negative to anyone except your lab. Make arrangements for all prints to be ordered through the production company and its Lab. ___________ Producer(s) ___________ Lab Contact Talent promote picture The Publicist coordinates with Producer, Director and Talent to promote the picture at film Festivals and in media appearances. __________ Publicist __________ Talent Release Release the Picture with the appropriate market plan. __________ Distributor Receive Royalties and Undergo Recoupment As the Picture earns rental income, Producer receives royalties from the Distributor and pays back production financiers in accordance with the Production-Distribution agreement in place. Pay back any first place deferrments owed. _________ Distributor _________ Producer(s) _________ Counsel _________ Treasurer(s) Profit Allocations As the Picture goes into profit, pay out profit participations as agreed in the Production-Distribution Agreement and all Participation Agreements. Pay back any remaining deferrments owed. __________ Producers __________ Counsel __________ Treasurer Here's wishing you well with this Program! JAMES JAEGER PRODUCTION COMPANY DATA: Production Title Production No. Producer I/T Production Manager First Assistant Director Email Phone Mobil Phone Today's Date Notes:
Production Title Production No. Producer I/T Production Manager First Assistant Director Email Phone Mobil Phone Today's Date Notes:
Production No.
Producer I/T
Production Manager
First Assistant Director
Email
Phone
Mobil Phone
Today's Date