Film Producers Responsibilities
What does a producer do, exactly? More to the point, why are there so
many different types of producers in film, TV, and video production? Do you
know the difference between a producer versus an executive producer? How about
a co-producer, associate producer, or TV producer? Some of the distinctions
won’t be cut-and-dry, but understanding who’s usually in charge of what is
crucial for any TV and film professional. Here, we give you a complete guide to
all types of producers and what they do. Let’s get started.
1. WHAT IS A PRODUCER
It all starts with the producer
A producer is an individual who
aids in the development, planning, execution, and marketing of a feature film.
FILM PRODUCER DEFINITION
What is a film producer?
A film producer is
a person that initiates, coordinates, supervises and manages the creation and
production of movies, television shows, web series, and commercial videos,
amongst other productions. A producer may be a self-employed contractor, or
subject to the authority of an employer such as a production company or studio.
They are involved throughout all phases of production from inception to
completion, including coordination, supervision, and control of finances,
talent, crafts.
In the
modern era where "everyone is a publisher," job opportunities for
producers are growing. The Bureau of Labor Statistics projects that employment
of producers and directors will increase 12 percent from 2016 to 2026, faster
than the national average for all occupations.
Bottom line: A producer for film is anyone who brings the project to fruition and
is often the person that holds the rights to the underlying property.
Producer job description and duties:
·
Purchase and develop projects. If applicable,
producers secure the rights to projects.
·
Hire and manage key team members, including
writers, directors, managers, talent, heads of department, key crew, staff, and
other personnel.
·
Set a budget, and secure funds for the project,
often through investors, personal funds or a studio.
·
After funding, producers oversee the project to
ensure it stays within budget.
·
Build a schedule using production management
software to set the production schedule.
·
Oversee post-production from editing, through music
composition and picture lock.
·
Market the project and generate buzz for the
project by working with a PR team.
What is the role of a producer on
a production? A true producer for film works with the project from the idea
stage to the DVD shelf (or streaming queue). From the script draft on the
laptop screen at a coffee shop to the wide screen of the theater and beyond. A
good producer is with the project from before the cradle to long after the
grave.
The
meme-worthy Producer
You might have thought such
dedication would only come from a director. Sure, on an indie passion project,
it may be the case. In a more traditional production like television or
commercial shoots, directors are less of a permanent part of the project's lifespan
than the producer(s).
What does producer mean to the
Producer’s Guild of America (PGA)? The guild defines the various rules that
define the role of a producer, and even provide some wordy breakdowns in their
FAQ of the different types of producers.
2. WHAT DOES A PRODUCER DO
This is what Producers do
Irving Thalberg, arguably the
most important producer in movie history, once said: "A credit you give
yourself is not worth having." Maybe his refusal to be credited adds to
the mystery of the producer role.
The
role of a producer transcends any single credit.
In short, Producers do a little
bit of everything.
The longer answer begins at the
beginning. As mentioned above, producers are often present at the inception of
a story. The key role of the producer early on is to "develop" the
material. Getting it ready for production.
It could start with a news
article ... something in the public domain.
When inspiration sparks, the
producer is the one holding the flint to the kindling.
We know the producer isn’t
usually a writer though. So at this early development stage what exactly does a
producer do?
Let's look at a few examples.
HIRE
A WRITER
Before he was a mega-producer,
Brian Grazer came up with a concept for a movie about a man who falls in love
with a mermaid.
Grazer knew he wasn't much of a
writer, but he believed in this idea. So he hired a writer to write the
screenplay. Together they 'developed' the project. It became Splash and
helped launch many careers.
A good producer launches careers.
T.Hanks
for being a great producer, Brian!
SECURE
THE RIGHTS
Producers can also purchase a
script.
In the early 1960s, author Ken
Kesey wrote a play starring Kirk Douglas, who later bought the film rights.
This is referred to as
"optioning," because the buyer is purchasing the "option"
to turn the material into a movie. Here is a little more info on how to option a book.
Years went by, and Douglas passed
the rights to the option on the play to his son, Michael. Michael Douglas
brought in a more seasoned producing partner, Saul Zaentz, and the
Oscar-winning film One Flew Over the Cuckoo’s Nest was
born.
Sometimes
accept the Academy Award for Best Picture.
NEGOTIATE
KEY TALENT & FUNDING
A producer will then hire a
director, and attach stars. These steps often help secure funding — another
task that falls to the producer.
With funding in place, a producer
will make or oversee the budget. For more on that check out this guide for crafting film budgets.
High-level producers have the
closest relationship to the film’s financing. Understanding how to manage the film's budget and cash flow is
critical to being a Producer at any level.
HIRE
CREW, PREP & SHOOT
So what does a producer do next?
Crew up, and then manage all that arises during the shoot.
Somewhere around this point,
essential heads of department join the project, such as the director of
photography and 1st assistant director. The budget, script breakdown and shooting schedules are
firmed up at this stage.
Additional staff and crew are
hired.
Obviously, a producer needs to
have an extensive Rolodex of contacts.
And since nobody really keeps a
Rolodex anymore, modern producers tend to organize contacts in the cloud with
all-in-one production management software:
Grow and manage your production contacts with
professional producer software.
Keeping contacts in your
production hub makes for an easier process at every phase. You can divvy up
people by department, project, and other custom considerations. Get in touch
via messages within the software itself, or use cast and crew info to call and
email.
Plus, when you move into
production and generate call sheets,
all you'll have to do is select your contacts to send and confirm receipt via
your built-in tools.
OVERSEE
POST-PRODUCTION
After wrapping a shoot, a lot of
the key talent moves on to new projects. The cast and crew will likely have
other jobs to jump right into. The director may also start prepping his or her
next film.
When everyone starts to disperse,
he or she sticks with this project and sees it through post-production.
Editorial teams assemble a rough
cut, with the director around as much as he or she wishes to be (or is allowed
to be).
Then, there is a final cut, final
VFX, color grading, the film score, and audio work. A producer stays on top of
it all.
The role of a producer will then
turn towards test screenings and even making changes at this late date, if
necessary.
Producer Robert Evans
screened The Godfather and notoriously yelled at Francis Ford
Coppola. In an unusual request, Evans wanted the would-be classic recut to be
longer. He wanted an "epic."
MARKET
THE PROJECT
When a film is finished, the
producer(s) initiate marketing campaigns. Talent will come back into the fold
now. Often times public relations firms get involved as well. Promotional
tie-ins. Etc.
Producer George Lucas made a
galaxy-altering decision during this phase. He negotiated to retain
merchandising rights to his then-unheard-of space opera Star Wars.
At the time, film merchandising was not seen as a moneymaker.
This is where George Lucas donned
his producer cap. He used the idea of manufacturing toys based on his film to
build up anticipation for the film's release and beyond.
The studio executive producers
laughed at Lucas's "worthless" request and granted the rights.
The rest, as they say, is
history.
Approach
filmmaking like a movie producer and you can save the galaxy.
Speaking of executive producers,
this leads to the next point …
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3. THE DIFFERENT TYPES OF PRODUCERS
So many producers...
We've covered some broad strokes.
But we've left something critical out.
There are many different kinds of
producers. You've noticed on your movie poster that
there are two to three different types of producers. You've probably seen
that film credits order hierarchy features
many types of producer roles.
You might be asking not just what
does a producer do, but also:
·
What does an executive producer do?
·
What does a co-producer do?
·
What does an associate producer do?
·
What does a fill-in-the-blank producer do?
Now it's time to explore the
various types of producers in the industry.
4. EXECUTIVE PRODUCER VS PRODUCER
The role of the executive producer
To understand the difference
between a producer and executive producer, let's start at the top: What do
executive producers do?
EXECUTIVE PRODUCER DEFINITION
What does an executive producer do?
An executive
producer (EP) is the head producer who supervises other producers in
the creation of a film, television show, web series, commercial, or theater
performance. An executive producer may work independently or on behalf of the
studio, financiers or the distributors. They will ensure the film is completed
on time, within budget, and to agreed artistic and technical standards. In
television, an Executive Producer may also be the Creator / Writer of the
series.
Bottom line: An executive producer is usually a financier of the project.
Typically, this person may assemble the core team, but will not physically
produce the project.
Executive producer job description and duties:
·
Introduce new concepts and ideas that may align
with brand initiatives of the project.
·
Ensure production meets competitive goals and
projects the intended brand image.
·
Supervise other producers and ensure they, and the
production, work within union regulations.
·
Oversee and approve the hiring of marquee talent.
·
Maintain the budget and approve schedules.
An executive producer (EP)
typically works only at the highest level. They may be a producer who has
raised a significant proportion of a film's finance, or who has secured the
underlying rights to the project.
In major productions, the
executive producer may be a representative or CEO of the studio.
In smaller production companies
or independent projects, they may be the creator or writer. In other cases,
they may own the source material, but have no hand in the writing of the
script. In this sort of instance, the title is “negotiated.”
Typically, executive producers
are not involved in the technical aspects of the filmmaking process but play a
crucial financial role in ensuring that the project is completed. They may
raise some money for the film, commercial or series. They may also put up the
money and be looking for a return on their investment. These types of executive
producers actually don't do much on the film itself.
There may be several executive
producers on a film who may take the lead role in many areas, such as
development, financing or production.
In many instances, the executive
producer oversees the project. There may be a few places where some executive
producers will have a larger hand.
Say in the cutting room.
Attaching major stars. Negotiating. Some EP's may do this for multiple films at
once, working for a studio or conglomerate.
But it's best to think of the
executive producer as someone working at the global level. A hand in everything.
Power over much of the process.
But not likely to dip into the
details.
Ok. That answers for one type.
But what do these other movie producers do?
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5. WHAT DOES A CO-PRODUCER DO
The co-producer
A co-producer typically works
right beneath the executive producer or producer. They'll assist with finances,
casting, post-production and other high-level tasks.
CO-PRODUCER DEFINITION
What is a co-producer?
A co-producer is
a producer who performs jointly with another producer on a production.
Additionally, a co-producer title may be awarded to any key player (such as a
DP, department chief, or talent) who may not have a direct hand in producing
the project, but is instrumental in funding the project through their
involvement, equipment, or services rendered.
Co-producer job description and duties:
·
Work jointly with another producer to oversee the project from
development through post-production (see producer responsibilities in the
previous section).
·
Provide notable value to project through their
attachment, services rendered, essential equipment, locations, etc.
·
Any producer credited like this is considered
“above the line” – a phrase used to delineate high-level decision-makers and
talent.
Any producer credited like this
is considered “above the line” – a phrase used to delineate high-level decision
makers and talent.
The bulk of the crew is “below
the line.”
This line brings us to our next
type of producer: the line producer.
6. WHAT IS A LINE PRODUCER
The line producer walks the line
A line producer's domain is all
that happens below the line.
In other words, above-the-line
producers hire the line producer to oversee everything below the line.
LINE PRODUCER DEFINITION & JOB DESCRIPTION
What is a line producer?
A line
producer performs all producer functions involved in supervising the
physical aspects of the making of a motion picture or television production.
Unit production managers (UPMs), who perform no more than the standard services
of a unit production manager, should be credited only as such.
Bottom
line: A line producer focuses on production.
What does a line producer do?
·
Assist the executive producer(s).
·
Introduce new concepts and ideas that may align
with brand initiatives of the project.
·
Supervise other producers and ensure they, and the
production, work within union regulations.
·
Assist with the hiring of marquee talent.
·
Supervise the post-production process and liaise
with the executive producer.
·
Maintain the budget and approve schedules.
Producers of all kinds
oversee. While they may take on the tasks of say, making a schedule or
budget, they typically do so only once the big ticket items
(above-the-line talent) is secured.
They may rough out the shooting
schedule and script breakdowns, and hand it off to the first AD to finish
and finalize. Then the above-the-line Producer will take a look.
And perhaps run it by a higher up producer such as an executive
producer.
The
Line Producer Breakdown
So as you can see in the video
above, the answer to what does a producer do could very well be
"everything." If the project is small and the money tight, the
producer has to do it all.
If the project is huge, with a
gargantuan budget to match, then there may be lots of producers running around.
And in the case of a large
project, the answer could be in some cases
"nothing." Because maybe he just works at
the production company helping finance the film, and he’s never even read the
script.
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7. WHAT DOES AN ASSOCIATE PRODUCER DO
The mysterious associate producer
Speaking of producers doing
nothing ...
Often you'll hear that an
associate producer credit isn't a “real” credit. It could be a friend of
someone high up. It could be someone the production owes a favor to.
It could be someone who did some
amount of work on the production, but that is more likely the outlier.
ASSOCIATE PRODUCER JOB DESCRIPTION & DEFINITION
What is an associate producer?
An associate
producer, often referred to as the 'AP," is a below-the-line producer
that performs under the supervision of another producer. Associate producer job
duties and responsibilities will vary from project to project and may include
organizing production personnel, coordinating set construction, operating a
teleprompter, supervising lighting or sound plans, editing scripts, or writing
news items.
An associate
producer is not necessarily a member of the Producer's Guild (PGA) and is often
hired only to do tasks that other union positions don't have to do.
Bottom line: An associate producer may have a hand in the process, but will not
be physically producing it. It's often used as a token title to appease a
writer, production executive, underlying rights holder, or someone that offers
a vital favor in exchange for a credit.
What does an associate producer do?
·
On a TV series, associate producer duties may
include pitching story ideas, revising copy, and helping guide the editorial
content of the series.
·
Writing, editing, organizing scripts for TV,
running the teleprompter in newscasts, or assisting the editor by making beat
calls (shot selections).
·
Assist with promotions and handle bookings for TV.
·
On a film production, an associate producer's
duties are varied and difficult to pin down.
Like many producer credits,
associate producer is one that can be a part of a negotiation.
Say on a film someone let you use
a location they owned for free, or heavily discounted. You might
throw in an associate producer credit.
Why is it a credit worth getting?
Because a lot of people
don't really understand what is a producer. Or what a producer does.
There is little to no difference
between an associate producer or co-producer for many.
Within the confines of the industry, people will
more than likely know what a producer did on a project, often by way of the
individual’s skill set, or work history.
But for much of the world,
defining the role of a producer isn't straightforward. To them, all producers
are the same, and no one is quite sure what it is they are up to.
So then …
8. WHAT DOES A TV PRODUCER DO?
TV producers are different creatures
Now we know what the various
movie producers do. But how is it different from their counterpart in TV? Now,
what does a producer do on a TV show?
In television, a producer is
often a writer. In the case of an executive producer in television, it's a
"head writer." You could almost think of the "EP" or
"showrunner" as they are more commonly called, as some director-producer-writer
hybrid.
TV PRODUCER JOB DESCRIPTION
What does a TV producer do?
TV producers are responsible for a variety of operation on network shows.
Typically, a TV producer is tasked with concept development, raising funds,
recruiting staff, budgeting, guiding crew members, making casting decisions,
and evaluating final product quality.
TV producer job description:
·
A television producer assists the executive
producer(s).
·
Introduce new concepts and ideas that may align
with brand initiatives of the project.
·
Supervise other producers and ensure they, and the
production, work within union regulations.
·
Assist with the hiring of marquee talent.
·
Supervise the post-production process and liaise
with the executive producer.
·
Maintain the budget and approve schedules.
A producer in television is
a creative decision maker, and not so often involved in nuts
and bolts of the day-to-day. Though they may have a hand in that, too.
Aaron
Sorkin (West Wing, The Newsroom), Vince Gilligan (Breaking Bad), Carlton Cuse
(Lost / Bates Motel), Matthew Weiner (Mad Men), Ann Biderman (NYPD Blue), Nic
Pizzolatto (True Detective).
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9. HOW DO YOU BECOME A PRODUCER?
Develop a holistic understanding
This is an important question.
Now that we understand the film producer job description, how do we get
started?
How do you become a film or TV
producer?
Many producers come from humble
beginnings. And for a good reason. A producer needs to know a little bit of
everything happening in the filmmaking process.
Some start in the mailroom. Some
begin as production assistants. Irving Thalberg, as mentioned earlier, was a
secretary who became head of production at MGM. In those days, the studio was
the king of movies, and MGM was the king of studios.
Walt Disney started with an
entry-level job “inking” at an art studio.
Mogul David O. Selznick started
as a script reader.
By learning the craft from the
ground up, a producer learns every inch of the process. And as we've seen,
that'll be critical to success.
Of course, some producers came
into it other ways. Magnate Howard Hughes decided he wanted to produce movies
without prior experience. The results were ... costly. (Plus he had some other
problems.)
But what's the fastest way to
learn the facets of pre-production and production?
We're a little biased, but a
really good way is to familiarize yourself with production management software
like StudioBinder, which is made for producers.
StudioBinder guides you through pre-production
and production workflow step-by-step by providing tools to create and collaborate
around the critical documents that productions need.
From shooting scripts, sides,
breakdowns, shooting schedules, shot lists, calendars, call sheets, and more.
It's the most efficient way to
master the producer's workflow.
10. GETTING HIRED FOR PRODUCER JOBS
How to find producing jobs
Okay, so say you have some
experience in the field, and you'd like to cut your producing teeth. But what
does a producer do to jump-start a producing career?
One great option is to start
working on student projects. You can also search for low-no budget shorts and
offer producer services. Projects such as these often have a serious need for
good producers. The struggle of shooting on a shoestring will help a
producer learn to adapt on-the-fly and plan for everything.
If you can stomach the hard work
(often to get paid with experience only), this is a reliable route to
try. Brush up on what a working production coordinator should know and
apply some of that knowledge to a low budget producing gig.
Wondering what does a producer do
on set? They prepare, and they lead. A big part of being
prepared is using pre-production software to prep your projects, from
scheduling the shoot, to budgeting to call sheets.
Producers need to know how to
organize all the elements of a film. Make a free shooting schedule in StudioBinder.
Put together a stripboard. Even try creating a free call sheet to hone
your chops.
Practicing and developing these
skills will make you more hirable.
Which brings us to another way to
start producing:
Nothing will make you better at
being a producer than starting to produce. Create a free career profile on
a film & TV production job board like
ProductionBeast, and submit your services. Search for video
producer jobs.
And when you are producing your
next project, you use also ProductionBeast to crew up your own shoots.
UP NEXT
Line Producer Essentials
We’ve learned what a producer
does in film and TV. One constant: the producer always
helps facilitate the creation of the project.
Ever hear the phrase “development
hell?” Development hell is when a project is stuck at one stage, unable to go
anywhere else. Only a producer can rescue a project from development hell.
When it's time to dig into the
nuts-and-bolts of producing, you need a deep knowledge of line producer duties.
Get the complete guide in our next post.
What is a line producer? What do they do? Great question. And not
uncommon, even for people well-versed in film. The role of the line producer,
like many inner-workings of the entertainment industry, is shrouded in secrecy.
We’ve got the “ins,” we’ve done
the research, and right now we’re going to give you the ultimate answer to the
question, “What does a line producer do?” We’ll also discuss line producer
salary, how to become a line producer and everything you’ll need to get the job
done.
Table of Contents
Everything
you need to know about line producers.
1
LINE PRODUCER OVERVIEW
A PRODUCTION LEADER
1.1 WHAT IS A LINE PRODUCER?
Keep a close watch when you walk the line
A line producer is an essential
managerial position. He or she is directly responsible for the financial
aspects of a production. The line producer generates and continuously reviews
the budget line-by-line (hence the job title).
The line producer also oversees
all operations and logistics for a film, from the pre-production phase through
delivery of the completed work.
A line producer’s role is often
coupled with the title production manager or production supervisor, depending
on the format or budget of the project.
1.2 HOW DO YOU BECOME A LINE PRODUCER?
Golden rules to move up the ranks
There’s no single way to become a
line producer.
While most start as office PAs
and work their way up to production coordinators, others take different paths.
Regardless of how you get there,
stay dedicated and do each job to the best of your ability. People notice hard
workers. And hard work is exactly what it takes to be a line producer.
Stay engaged. Be alert, curious,
and professional.
Always be ready to help.
How to Become a Great Line Producer
1.3 WHAT DOES A LINE PRODUCER DO?
Managing the production line
Line producer job description and
duties:
PRE-PRODUCTION
·
Set up the production company
·
Manage budgeting
·
Recruit personnel and services
·
Schedule shoot dates and locations
PRODUCTION:
·
Oversee daily production
·
Communicate with 1st AD and unit production manager
·
Provide equipment
·
Facilitate last-minute scheduling changes
·
Act as liaison between crew and producers
POST-PRODUCTION:
·
Communicate with post-production supervisor
·
Manage budgeting and salary for editors, composers,
sound designers, and VFX
·
Track deadlines
DELIVERY
·
Create deliverables schedule
·
Guide delivery of completed components to
guarantors, unions, producers, and sales agents
·
Track and meet distribution needs
1.4 LINE PRODUCER SALARY
Day rates and dollar signs
One of the best-kept secrets in
Hollywood is the line producer salary.
Truth is, it depends on the budget
of your project and the experience of the line producer.
A $70 million studio film might
offer a talented line producer $6,500 per week. And that doesn’t include
housing, meals, and per diem.
Not too shabby.
A per diem in film is a stipend
given to any employee, crew, or cast member traveling for a production. Per
diems are mandated by entertainment industry unions for any production
outside the 30 Mile Studio Zone (TMZ).
Line producers working on
commercials typically make between $450 and $900 a day. Of course, this is
often higher if you have an impressive line producer resume.
For a smaller film, say $7
million, a line producer can expect to make roughly one percent of the total
budget.
A line producer’s salary is often
negotiated as a flat rate with several perks, such as production vehicles, kit
fees, housing stipends, and more.
1.5 PRODUCTION MANAGEMENT SOFTWARE
The line producer’s magic hat
The key to being a great line
producer is simple: stay organized and efficient.
Pay attention. Don’t wait for
others to come to you. Meet with someone from every department every day.
Track everything.
Keep digital copies.
You need to be able to find
anything, anywhere, in less than 30 seconds. Many believe the shoot they’ve so
painstakingly planned will go off without a hitch.
Wrong.
Line producers and assistant line
producers know it’s not if something will go wrong, but when. Putting out fires
is a major part of the line producer job description.
Imagine doing everything without
the right tools. Imagine trying to put out fires without a fire extinguisher.
You’d burn up in a hodgepodge of
PDFs and spreadsheets. Too much stress. A disaster waiting to happen.
Production management software is
your answer. Investing in a cloud-based production management solution will
make it easy to stay on top of the many facets of production.
Sure, we’re biased, but we
recommend:
The Colossus!
StudioBinder is the most intuitive all-in-one
workflow solution for film, television, and digital production.
You can integrate all your contacts.
You can build, distribute, and log your call sheets,
and much more, all in one seamless resource.
Line
producer software - the recipe for success
It’s the line producer’s job to
make sure a little glitch won’t cause a chain reaction and grind production to
a halt.
Here’s a tip.
Make sure talent is happy with a
simple question: “Everything going smoothly?”
This one question could save your
production.
So could keeping your schedule
and documents in one easy-to-access place.
DID YOU KNOW?
The most common small fire you
will encounter during your shoot is the meal penalty. Going over union-approved
hours before a required meal break can cost more than just money. Morale is
many times as important as the money involved. If necessary, a third meal
should be ready to eat as soon as the crew realizes they’re working late. Keep
your grips happy and save your production.
Screen Actors Guild meal penalty guidelines differ
from IATSE regulations,
so be sure to do your research. By organizing your shoot correctly, you can
synchronize meals without causing headaches.
Don’t sweat it, we’ve done it for
you:
According to SAG-AFTRA, all
performers must be given the first meal break within six hours of first call.
The second meal break must occur within six hours of return from the first meal
break.
Meal breaks must be at least 30
minutes, but the producer can deduct actual time, up to one hour, spent at
meals.
To synchronize performer and crew
meal times, performers may be given a non-deductible 15-minute meal break
within two hours of call time. A notation indicating start and end time of this
non-deductible meal must be on the production time report.
The first meal break would then
be due six hours from the end of this non-deductible meal.
Meal penalty payments for
violations of either meal period are:
·
$25 for the first half-hour or fraction thereof.
·
$35 for the second half-hour or fraction thereof.
·
$50 for each half-hour thereafter or fraction
thereof.
Note that for Student, Short, and
Ultra Low Budget Films, the meal penalty amount is reduced to $25 per half-hour
or fraction thereof.
2
THE PRE-PRODUCTION WORKFLOW
THE STARTING LINE FOR EVERY
LINE PRODUCER
2.1 SET UP A PRODUCTION COMPANY
Establishing an entity is part of your identity
Let’s look in detail at the first
essential duty every line producer needs to know how to do.
A film’s pre-production phase is
an exciting time.
And the line producer has to
channel everyone’s excitement to get the ball rolling.
See, once funds are in place, the
line producer has to figure out the best kind of company to set up. A film,
television, or commercial project should be considered a separate business
entity for all intents and purposes.
Your new LLC, S Corporation, or
Limited Partnership will normally include a variation of the project’s name.
Why a new company for one film?
An LLC, or limited liability company, for example, limits investor liability to
the LLC itself. This protects partners from potential losses incurred.
S Corps and Limited Partnerships
offer similar benefits. Speak to the financiers or an entertainment lawyer for
advice on what kind of company works best for you to set up.
Tasks included in setting up a
production company? Open a bank account, find a production office, get a phone
line, and start an email address.
You’ll also want to talk to an
insurance broker and consider a completion bond for the
production. Hiring a lawyer and finding a payroll company are necessities as
well.
Finally, create letterhead for
the project, and at every step you’ll want to track all production paperwork and documents.
What
does a line producer do? Guides the pre-production process!
The start of the pre-production
stage requires a lot of work. But the savvy line producer knows it will pay off
in every subsequent phase of production.
Speaking of production, one of
the most important contributions a line producer will make is determining the
union status of a project.
Whether or not your project is
SAG-AFTRA will greatly impact your budget. It will also affect the level of
talent your film attracts.
2.2 BREAK DOWN A SCRIPT
Seizing the breakdown crown
The most important step after
you’ve set up your production company is to break down the script.
It’s a good idea to review
everything you need to know about breaking down a script with this free script breakdown ebook.
Your script breakdown is a
two-part process.
The 1st Assistant Director is
usually the first person to break down the script. The best way to get the ball
rolling is to use production management
software to share files so you can keep tabs and
collaborate.
The 1st AD answers to the
director on set and join the project during pre-production to assist in
breaking down the script and hammering out the shooting
schedule.
In the first pass, the 1st AD
will identify ALL the elements of the script that need to be considered for
filming.
The second part of the script
breakdown process is to note timing, scheduling, and locations.
Here you and the 1st AD will
break out strip boards and start to arrange by location, time of day, talent
needs, and other considerations.
Line
producer software: get up with the breakdown.
Yes, it’s labor-intensive. But
the more detailed your first breakdown, the easier your life will be.
Remember, a script breakdown will
be done again by every department head according to their department’s needs.
That’s a lot of script
breakdowns, but they’re all crucial.
The line producer needs a robust
first script breakdown to know how many days the shoot will require and, more
importantly, how much money will be needed.
It’s part of a unified process,
with the breakdown leading to scheduling, scheduling leading to budgeting, all
the way down to delivery. That’s why it can be crucial to use ordered, end-to-end production management software throughout
production.
Another note about breakdowns.
Since the line producer, 1st AD,
and every department head will be breaking down the script, we’re talking about
a lot of breakdowns.
A lot of opportunity for wires
getting crossed and files getting lost.
Keeping track of a heap of PDFs,
screenplay files, Excel and Word docs, and even paper copies is part of the
line producer job description.
But it doesn’t have to be.
Breaking down the script and keeping every single breakdown in one cloud-based,
accessible location will make for a more seamless production.
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2.3 BUDGET A FILM
A fistful of film dollars
The budget.
The estimated cost of every
single aspect of the film.
You might have put together an
estimated budget to secure funding for the film.
But now it’s time to focus on the
particulars.
See, the original budget was your
best-case scenario.
The budget that you calculate at
this point will have to come in at a specific number.
Let’s say with the original
budget you estimated $5 million based on non-binding quotes and educated
guesses.
Now that it’s go-time, the
producers have a total budget of $4.3 million.
For this next budget, your
numbers will need to be much more accurate. Every nuance of the script and
shoot have to be taken into consideration.
You’ll want to learn how to budget a film the
right way.
Essentially, you’ll break up your
budget into above-the-line (ATL) and below-the-line (BTL) categories.
You’ll also need to account for budget
contingencies.
A WORD ABOUT BUDGET
CONTINGENCIES...
A line producer must always be
mindful of contingencies in the budget. At least 10 percent of the total budget
should be set aside for extra expenditures.
In addition to above-the-line
costs like producer, director, writer, and talent fees, and below-the-line
costs associated with production and post-production, you’ll also need to keep
in mind kit fees, overtime costs and pick-up days.
You’ll also need to prepare for
the unexpected.
Equipment breaks. Locations fall
through. Weather doesn’t always cooperate.
Depending on where and when
you’re filming, current events and holidays might impact your shoot without
warning.
Tempers can flare, and you might
need to replace a key position ASAP.
Keeping a reserve of at least 10
percent of the total budget to handle these contingencies is essential. You’ll
be a production hero whe n a tricky situation is readily surmounted.
Line
producer software- be prepared!
Digging into your budget is also
where your project’s union status comes into play.
Unions have tiers for every shoot
that determines the wages of the crew and cast. These figures are based on the
overall budget.
The main unions you’ll need to
keep in mind are the big three:
·
IATSE
For your project’s actors, and
technical crew positions such as sound or camera assistants, union status can
give you the confidence that the person has the expertise to get the job done.
That’s not to say non-union
workers aren’t talented and can’t deliver the goods. And non-union workers are
almost always less expensive to hire. It comes down to budget.
A WORD ABOUT UNIONS...
SAG-AFTRA has a tiered system for
determining pay. They use the same system as the other unions, breaking
projects into distinct categories: Theatrical, TV, Low-Budget, Modified
Low-Budget, Ultra Low-Budget, and New Media.
The current base rate for talent
looks something like this:
·
Theatrical: $899 per day
·
Low-Budget: $722 per day
·
Modified Low-Budget: $567 per day
·
Ultra Low-Budget: $267 per day
·
New Media: $100 per day
The line producer job description
includes knowing how to allocate funds for what is
most important to the project.
Let’s look at an example.
Say Tom Cruise reads your script
and decides he wants to do it for less than his usual $20 million fee. He’ll
settle for $2 million.
But you’ve budgeted talent
working for scale. Yikes.
If you want Tom in your film (and
yes, you do), everyone else’s budget will have to be cut in half.
What do you do?
Some producers would suggest
paying everyone the same rate by obtaining more money now that a bankable star
is attached.
Others would make the project
Ultra Low-Budget and pay Tom Cruise in a separate agreement. This avoids SAG
Bond expenses and lowers the cost of other cast and crew.
A big difference in line producer
vs. producer duties is that line producers offer insightful budget suggestions,
and producers ultimately decides what’s best for the film.
Then the line producer has to
make it work.
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2.4 HIRE A CASTING DIRECTOR
The line producer brings the drama
That’s right, yet another
essential part of the line producer’s job description is to make sure there’s a
casting director in place.
Overwhelmed yet?
In addition to setting up a
production company, breaking down the script, and putting together the budget and
schedule, no line producer definition would be complete without the
responsibility of bringing on a casting director.
CASTING DIRECTOR DEFINITION
What does a casting director do?
A casting
director is a person or team responsible for finding talent. They usually
specialize in one particular area such as film, television, commercials,
background, or theater. Their main purpose is to find the right talent for a
particular project. Some casting directors receive producer credit for their
work, especially when the names they bring to a project add considerable
marquee value to the production.
Casting director job description and duties:
·
Contact talent agencies and management companies,
often through online casting platforms
·
Schedule actors and hold auditions
·
Provide insight, experience, and often draw from
relationships with talent and reps
·
Final casting decisions are usually made by
producers, directors, and commercial clients
Casting directors cost money. So
will the talent they’ll secure for your production.
This is why setting up your
budget the right way from the get-go, with a complete software solution, is
absolutely necessary.
Odds are you’ll have trouble
getting a star like Charlize Theron to do your film unless you work with a
casting director.
But where do you find one?
Start with any standout casting
directors you’ve worked with before. You can also ask for recommendations from
people you trust. Or browse casting directors on Casting Society of America.
A line producer should present
three to five casting director options for the director and producer to choose
from.
You don’t have to settle on the
first casting director you meet.
Some are better suited to
independent and low-budget films, while others are more fit for larger studio
projects.
The line producer should help the
director and producers choose a casting directly wisely.
As an LP, you’ll have to become a
union signatory for casting as well. The Teamsters Local 399 offers resources and forms about becoming a signatory,
but always read regulations and agreements carefully.
2.5 FIND A GREAT CREW FOR A PRODUCTION
You gotta roll with a solid crew
Once a line producer has the
budget under control, it’s time to think about the crew.
But wait, doesn’t that involve
hiring an entire company of skilled, hard-working experts from scratch?
Sure does.
And you’ve got to move fast.
But right now, we’ll tell you how
to do it. And we’ll also share a resource to round out your crew with the best
people.
Hire your production team first.
When it comes to line producer vs. production manager, they are often the same
person. You might want to hire a separate production manager if you have the
budget for it. Otherwise, buckle down and keep moving forward.
A production coordinator, 1st AD,
and production assistants will be next.
Definitely give some thought to
what qualities you want in a production coordinator. They will be the Watson to
your Sherlock for the duration of the shoot.
You’ll also want to hire a storyboard artist to
work with the director as soon as possible. This will be crucial for the next
step.
The storyboard artist will help
the director realize his vision to share with others.
Some directors don’t want to work
with a storyboard artist. That’s fine. But encourage them to create a moodboard for
the Heads of Department (HODs) you’ll be contacting.
HODs include the director of
photography, production designer, prop master, and so on.
LIST OF HOD’S TO CONTACT
FIRST
1.
Director of Photography
2.
Production Designer
3.
Location Manager
4.
Key Wardrobe
5.
Key Makeup
6.
Key Hair
7.
Sound Mixer
8.
Editor
Most directors know who they like
and who they want to work with. You can reach out to HODs through their agents.
Worldwide Production Agency, APA and The
Gersh Agency are good places to include in your search.
The agents will want to know as
many specifics as possible about the project before they involve their clients.
This includes info on the director, production team, budget, union status, and
shoot dates.
DID YOU KNOW?
Contacting agents for crew is is
not as daunting as may think. Most below-the-line crew will have reps that want
to keep them working. Don’t be afraid of the major agencies for big-name DPs,
editors, and other positions. This can also be a good way to approach
above-the-line talent, as you will have established a natural in at the agency.
Once you’ve narrowed down the
candidates, it’s time for the director and producer to make their decision. And
it’s your job to guide them toward the best choice for their team.
Even if you already have hundreds
of clutch craftspeople in your contact list, or if you’re just starting out,
you’ll need to access makeup, gaffers, grips, production assistants, and other
creative pros ready to work.
A go-to job board for finding and hiring production crew is
ProductionBeast. You can post jobs for free; follow, message and hire
experienced professionals; manage your database of contacts; and shortlist
people for your next project.
Once your HODs are locked, plan a
production meeting to start scouting locations.
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2.6 SCOUT FOR SHOOTING LOCATIONS
Line producers need to have location fixation
Location scouting is a vital step
in pre-production.
Now that you and the other
filmmakers on your production know what kind of settings and scenery will be
required, scouting for a locations can begin.
But where can you find
interesting locations? Which locations welcome film crews?
It’s not always as simple as,
“Hey, look, that’s a pretty mansion. Let’s shoot a scene in the master bedroom
next Tuesday.”
You’ll need to negotiate access
to your locations.
Companies such as Wrapal, Peerspace,
and Giggster are new and alternative
ways to find great places to shoot.
Location scouting will be the
line producer’s first opportunity to see how all the essential department heads
communicate with each other.
What does a line producer do
during this stage?
First, he or she must pay careful
attention to each location being considered for shooting.
Always look for anything that
affects the departments during production.
What
is a line producer? A location-finding mastermind.
A line producer must also pay
careful attention to the personalities of the HODs.
Why? Because once the contracts
have been signed, the real characters start to show themselves. And everything
about them will be amplified on set when the pressure’s on.
So be analytical.
Get to know who works well with
others, identify problem areas, and try to curb issues before the shoot.
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2.7 SECURE FILM EQUIPMENT
Line producers get the goods
It might seem like a line
producer’s job description is longer than a feature-length script.
It’s true, there’s a lot to
oversee to earn your line producer salary, including getting all the equipment
for production.
That means cameras, grip trucks,
even tables and chairs for meal breaks. Your job as an LP is to gather quotes
and find the best deal for what your shoot needs.
Be a smart shopper. Quality and
price are often a delicate balance.
Luckily, each department will
have already started contacting production houses.
For example, the camera
department will likely have reached out to Panavision or Arriflex.
The Grip & Electric
department will get a list ready for Quixote.
And the costume department will
have pulled items from Western Costume Rentals.
Each HOD will present you with
their wish list of equipment and expendables for you to approve, according to
your budget.
It goes without saying that you
will want to start this process as soon as possible.
Each company will need to set up
an account for you. This could take a couple days, depending on your needs.
Each company will also need its
own insurance certificate. This will be a full-time responsibility for your
production coordinator.
Go over these lists with your
assistant line producer.
It is not the job of department
heads, the director, or anyone else to make sure you stay on track with your
budget.
It’s your responsibility.
If the production can’t afford
the newest camera with the latest bells and whistles, it’s on you to speak up.
Keep in mind, it’s common to bid
out for your rental needs. Especially for the camera department.
Never jump at the sticker price.
Haggle as though your top sheet depends
on it.
3
PRODUCTION WORKFLOW
WHERE THE ACTION IS
3.1 PRODUCTION INSURANCE
How to become a line producer and stay one
Insurance isn’t sexy.
It’s hard to get excited about
insurance. But a firm understanding of
production insurance, knowing why it’s important, and how it
works are all crucial points on any line producer resume.
You’ve most likely already
obtained production insurance during the pre-production phase.
A good line producer will always
be adjusting his or her work. Insurance is no exception. Once you know the
scope of your project, you’ll need to reassess your insurance needs.
Line producers routinely work
with hundreds of certificates of insurance (COI), vendors, and various
requirements. Today, we’ll streamline production insurance for you.
Production insurance considerations
include:
·
Stunts
·
Talent ages
·
Equipment
·
Vehicles
·
Locations
·
Workman’s compensation
It is recommended that you speak
with a broker who specializes in entertainment insurance. Film
Emporium is a trusted industry leader and works with both
indie filmmakers and studios. There is an online application to get you
started.
Line
producer definition: production insurance expert.
When filling out the insurance
intake form, be as honest as possible and go for the most comprehensive
coverage.
Go in knowing that basic
insurance, short-term or annual, is going to cost at least a few thousand
dollars. Beyond this, we advise budgeting 2.5 percent of your total budget for
production insurance.
One safe bet:
You will never regret having too
much insurance.
What
does a line producer do? Provides insurance certificates upon request.
When you work with an insurance
broker, make sure that your choice is an entertainment insurance broker,
specializing in entertainment or production policies.Entertainment insurance
brokers understand the world of production, and all the risks involved. They
know how to “package the policies” to give you the most coverage at the best
rate.
An entertainment specialist will
also be able to answer questions and provide insight. Insurance is such an
integral part of any production that your broker will likely be able to share a
few pointers where you least expect it.
Note that if insurance brokers
advertise policies for businesses, renters, auto, or other forms of insurance,
they are most likely not an entertainment insurance specialist.
3.2 MANAGE A PRODUCTION
Stay alert and engaged
As mentioned, many line producers
have the dual title of production manager.
That means you, as the line
producer, are where the buck stops.
The 1st AD is responsible for how
the production runs. But the line producer-production manager (LP/PM) must make
sure every element is ready for the team.
What does a line producer do
during the shoot?
To start, a line producer should
visit every HOD to ensure they’re prepared for the day’s scenes. A line
producer should also check for any concerns about future shoot days.
Payroll is another consideration
the line producer needs to keep in mind on a daily basis.
If your talent payroll is late in
any way, SAG-AFTRA will shut down your production. They may even snag the bond
your production has given them.
The payroll company you’ve chosen
will be an essential ally to your production. Meet with your production accountant every
week to make sure you are on track in every area.
3.3 PREPARE FOR POST-PRODUCTION
Get ready for the end
Before and throughout the shoot,
the line producer will be setting up post production. This means thinking ahead
about deliverables for marketing and distribution.
It also means taking care to
confirm that the post-production pipeline is clearly defined.
Line
producer definition? Post-prod prepper.
The line producer duties of
hiring the production crew during pre-production now extends to hiring the
post-production crew. This involves the same process.
You can use ProductionBeast to hire post-production
professionals such as editors, composers, and sound
designers.
Line producer responsibilities
include obtaining a post-production facility, and ensuring the delivery of
production materials.
A post-production supervisor will
oversee post.
But you’ll want to touch base
with the post supervisor. Stay engaged. Maintain a firm understanding of the
post-production process ensure everything stays on track.
4
WRAP AND BEYOND
THE END OF THE LINE
4.1 OVERSEE EVERY FACET OF PRODUCTION
Wrap it up with a bow
A line producer’s wrap duties
begin long before the 1st AD yells, “That’s a wrap!”
Mission
accomplished!
By the time the ship lands,
you’ll need to know every nook and cranny of the production. From call sheets
to locations, and from every line of the budget to the minute-by-minute
production calendar, a line producer has to be able see the big picture
anytime, anywhere.
StudioBinder is
your bridge on the Starship Enterprise. And the line producer is Captain Kirk —
or Captain Picard, if you prefer.
Line
producer job description: Starfleet Command.
For wrap, the line producer will
need to calculate things like tax incentives and overages.
You’ll also want to keep an eye
on all the equipment. What can be returned early? Where can you save money?
Coming in under budget can lead
to more films on your line producer resume.
4.2 ENSURE DELIVERY
Deliver the goods
A line producer should be
thinking about deliverables from the beginning of production. Meet with your
team. Find out exactly what post-production needs and deliverables are
expected.
Deliverables are items presented
at the completion of a project which follows predetermined guidelines.
Deliverables can be in any form and from any department on a project. There is
usually one or more persons responsible for gathering these elements for
completion.
As production wraps, you’ll need
to get specific deliverables to completion guarantors, unions, producers, and
sales agents.
A sales agent represents
producers and filmmakers who want to find distributors for their films. Sales
agents often play a crucial role in an independent film.
They’re well-versed in figuring
out a strategy to marketing the film in any number of territories. A good sales
agent can even get your film made if the right territories opt-in before
cameras roll.
Line
producers liaise with film sales agents.
If you’ve done your job well,
this part should be a piece of cake.
Simply use your production binder
or digital files to produce every contract, release form, location agreement
and whatever else is requested.
4.3 ON TO THE NEXT JOB
Keep walking the line
Yes, you did it!
After all the excitement of the
production take a moment to breathe.
Okay, maybe two.
The
line producer is vital to the success of any production.
Yes, line producing can be taxing
in every regard, but your efforts ensure that the production comes in on time
and under budget.
So catch some shut-eye, and get
ready for your next job. We suggest checking out film and video job boards like ProductionBeast to
find new opportunities.
UP NEXT
Learn how to break down a screenplay
Now that you have a detailed
understanding of line producer job responsibilities, you’re ready to take the
first step.
Learn how to create script
breakdowns, categorize production elements, and generate and track all the
reports you need to become a production professional.
The breakdown leads to the budget
and schedule. Get your production started on the right foot.
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