Reading 2
Section 2 Notes – Production
What is an Executive Producer?
The person who “makes the deal.” Often secures financing or rights. Their role varies—sometimes vague—but they usually have the power to get their name in the credits.
What is a Producer?
The CEO of the movie production. They hire the crew, coordinate with the director and studio, secure locations (permitting), schedule, and oversee everything. Sometimes also the director.
A producer can raise money for films but how?, go to a studio
Donations from people
Donated equipment
The producer’s job is to find crowd-sourcing
Why does a film go to a festival
primary marketplace to sell your film rights
promote film
What is a Co-Producer?
A co-producer is an individual or company that collaborates with another producer to finance and manage a film project, sharing in the responsibilities and profits of the production.
What is an Associate Producer?
A flexible title. Often does whatever the producer needs. Sometimes a vanity credit for UPMs or Line Producers.
What is a Line Producer?
Manages day-to-day production. Makes the budget, runs the office, negotiates contracts, and keeps the film on track.
What is a UPM (Unit Production Manager)?
Handles logistics and operations. Schedules pickups, deliveries, payments, and contacts. Keeps everything flowing smoothly. Sometimes also the Line Producer.
The Production Team
Production Office
Where the Line Producer, UPM, and assistants (PAs, Coordinators) work. Handles calls, planning, and paperwork.
On Set
The AD (Assistant Director) runs the set. Second ADs and PAs assist.
Pre-Production
Begins once a project is green-lit.
Finalizes script, cast, crew, locations, and start date.
Involves location scouting, script breakdowns, scheduling, and budgeting.
Ends with a read-through attended by key personnel.
Budgeting Basics
Everything takes longer and costs more than expected.
Budget determines what’s possible (equipment, actors, locations).
Includes kit fees (crew-supplied gear) and expendables (tape, gels, batteries).
Budget categories: personnel, equipment, rentals, transportation, meals, etc.
Use top sheets to summarize budgets.
Script Marking & Breakdown
Scripts are divided into eighths for timing.
Marked by AD or UPM using color codes (e.g., red for cast, blue for FX).
Breakdown sheets list all scene elements.
Locked scripts maintain consistent scene numbers. Revisions use letters (Scene A26, Page 22A).
Revisions are color-coded (white → blue → pink → yellow, etc.).
Tech Scout
Final visit to locations with key crew.
Director walks through each scene and shares the vision.
Crew plans for lighting, sound, power, equipment, and access.
Grip and gaffer figure out lighting placement, cables, cranes, and generators.
Hiring Crew
Line Producer hires department heads (keys); they hire the rest.
Departments: ADs, camera, lighting, grip, audio, props, wardrobe, makeup, stunts, etc.
Always collaborate—don’t micromanage.
Permits & Pickup Days
Permits required for most locations.
Stealing shots (filming without permits) is risky.
Pickup days fill in missing shots. Usually a small skeleton crew.
Reshoots are expensive and problematic—best to avoid.
Location Scouting
Check for more than just looks: parking, sound, electricity, access, restrooms.
Take detailed notes, videos, and photos. Use a location checklist.
Daily Tools & Reports
Contact list: includes all cast, crew, vendors.
Day Out of Days: schedules actors efficiently.
Production Report: tracks daily progress (scenes shot, time, notes).
Releases & Deal Memos
Talent Releases: actors must sign before filming, or footage can’t be used.
Location Releases: required to legally film on private property.
Deal Memos: outline crew member responsibilities, rates, and equipment.
Transportation (Transpo)
Includes cast vans, grip trucks, picture cars.
Swing trucks used for pickups and deliveries.
Honey wagons provide portable bathrooms and dressing rooms.
Catering truck is essential for crew meals.
Catering & Craft Services
Feed crew every 6 hours.
“Crew eats first.” Lunch break starts after last person gets food.
Second meal provided if the shoot goes long.
Craft table = snacks, water, coffee — essential and required.
Walkie-Talkies & Set Etiquette
Channels assigned to departments.
“Striking” must be called before lights turn on.
Respect actors, stay quiet, don’t interfere.
“Be cool,” follow the chain of command, never be the one holding up the crew.
Production Assistants (PAs)
Do anything ADs or other crew need: errands, lock-downs, assisting departments.
Valuable for learning the ropes and making connections.
Keep all receipts and tape them to sheets for accounting.