Tools to go digital with paperwork

Whenever I work as a Line Producer or UPM one of the things I try and avoid is dealing with actual physical paperwork. In general I have found that while I know how to sign a .pdf…. 90% of people don’t. Yes I can teach people how to sign a pdf, however when you are having to deal with hundreds of signatures who really has the time to educate people or wait for them to sign that document you sent two weeks ago.  Hellosign and Hellotim are two amazing services that can help bring your production into the digital age.

 

Tool #1: Hellosign

Hellosign promises to be an easy-to-use cloud based software that allows you to sign documents with ease.


I use this software to do the following:

  1. Collect info and signatures for Cast (deals, w9s and misc documents)
  2. Collect info and signatures for Crew
  3. Get location contracts signed
  4. Give access to multiple team members to control who receives paperwork
  5. Create templates that speed up the process and can be used over and over again
  6. Fill out and sign applications or signatory information

 

Tool #2: Hellotim

 

While I haven’t personally used TIM I honestly love the concept and plan to dive into the software at some point.

TiM makes digital onboarding easy, intuitive and secure by streamlining and centralizing all required tasks. Let TiM handle digital onboarding while the Studio/Production Company continues to focus on bringing creative content to an ever-expanding market.

For UPMs and accountants, TiM makes the process of tracking and approving startwork effortless and efficient by decreasing human error and enabling electronic approval from any device. TiM saves time, paper, and the production money.

***One thing to note is that TIM is designed specifically for Film/TV and even integrates with payroll companies***

The Role of the 2nd 2nd AD

The 2nd 2nd AD (sometimes called 3rd AD outside the US) is primarily responsible for being the extension to the 1st AD on set. In general a 2nd 2nd AD works with background actors, supervises production assistants and sometimes wrangles talent.

The thing I love about a good 2nd 2nd AD is that they can really help the 1st AD with very complicated scenes that involve stunts, mass amounts of extras or scenes that take place in difficult shooting conditions.

Below are 5 things to consider when working as a 2nd 2nd AD:

  1. Setting background actors is an art form. This is one of your main areas of responsibility so take it and run with it. Make it the most believable scene of extras crossing the street anyone has ever seen. When you are giving background actors direction…. consider giving them a storyline so they can get into character and come up with creative crosses that reflect everyday life.
  2. Delegate lock-ups to PAs and the Key Set PA. Think about how you can work with the Key Set PA to determine the best possible lock-ups at least 10-15 minutes before the lock-up occurs. Its too late to think about lock-ups once the camera is rolling…so always be thinking about this ahead of time.
  3. Accurate Production Reports are a must. As a 2nd 2nd AD you will most likely be responsible for filling out the Production Report or PR or at the very least managing parts of the PR. These documents can look different on various sets but the main thing to note is LUNCH TIMES and OUT TIMES of the crew. While it can be overwhelming to collect out times of a large crew, this can be made easier though using dept sign out sheets.  Many PRs have a place to put important notes like if someone got hurt or if a scene was missed. Throughout your day it is a good idea to keep track of important things like this so you can add them to the PR later in the day.
  4. Work as an extension to the 1st AD. The 2nd 2nd AD is oftentimes the only person other than the 1st AD on set that really knows what is going on in terms of “making the day”. If you want to really excel at this job always be anticipating what the 1st AD needs and delegate information to the PAs. You can ask dept heads if they are ready for the next scene, shot or day and even advance to various sets to keep an eye on the art department.   If the 1st AD is having to put out 10 different fires…then consider yourself as someone who is helping to put out those fires and lighten the load a little bit.
  5.  Backup the Key 2nd AD when available. There may be days with no background and one or two talent. Use this as an opportunity to help the Key 2nd with any work that may be piling up with future days coming up.

Software to manage extras from skin to wrap

Managing extras can be one of the most challenging things for any production. Its one thing to deal with a few extras on an occasional basis, however when you are on a show that is having to manage hundreds or in some cases thousands of extras…you want a system that can run smoothly and effectively. For decades productions have relied on antiquated technology using carbon copy skins that really make the process all the more challenging. Having to track paperwork, props and dealing with out times has been a source of pain and frustration for both extras and production.

Current problems of the typical paper system:
*Extends Late Nights
*Slows Call Times
*Long Check-Out Lines
*Missing, Incomplete, Sloppy Documents
*Invalid Tax Incentive Info
*Causes Grievances
*Messy for Payroll and Accounting
*Extra’s Complaints
*P.A. and A.D. Time, Effort Wasted
*Poor Communication
*No Oversight
*Morale Killing
*Limiting Legal & Payroll Compliance

RABS is the only app to manage extras from Skin to Wrap. 
*You can onboard extras in seconds.
*You can wrap instantly, all documents completed, costumes and props returned with an automatic breakdown
*Hot-cost savings, vouchers, docs, tax incentives, digitally delivered to accounting.
*Cost $600 per week and $3 per extra.

Schedule a Demo: runabetterset.com/demo

7 reasons why your Low Budget film should go DGA Signatory

I often get asked to create schedules and budgets for films in development and one of the questions I will often ask the producer(s) is what unions they want to budget for. Many times SAG is a no brainer no matter the budget but often times convincing producers to budget for IATSE, DGA, TEAMSTERS and WGA can be a challenge. Many times the reasons producers don’t want to join these unions is because of paperwork, limited finances and having to be under the scrutiny of a union. I put together a list of reasons why producers might want to reconsider….

7 reasons why your Low Budget Film show should go DGA Signatory:

1. Choosing to make your project DGA signatory will allow your Director the ability to Join the DGA if they are not currently a member.

2. Your film will be eligible to be entered into the DGA Awards.

3. You will be required to hire DGA UPMs and ADs (1st, 2nd and 2nd 2nd) thus ensuring an experienced AD staff. Now yes you can (might be able to) find experienced Non-Union ADs and UPMs however it is possible that they may or may not be as experienced as someone in the union and this could potentially lead to problems.

Example: You hire a Non-Union 1st AD who has only done one or two features and they may or may not not know how to keep your set safe or on schedule and you end up needing to shoot more days thus causing you to spend thousands of dollars.

4. If a movie is over a million dollars, some financiers will prefer that your movie is bonded. Some bond companies will require that your film join certain unions such as IATSE and DGA to limit the risk involved in making the picture.

5. You have access to a vast network of possible DGA Directors, ADs and UPMS around the United States to employ. Check out the list(s) HERE.

6. It may not be as expensive as you thought. For films under $500K the rates are negotiable. Essentially you would be paying the fringes (pension and health etc) on 3-4 crew members in addition to your cast. Check out the rates HERE.

7. It may not be as difficult as you thought. Yes you have to fill out an application and submit information about the film…but you are most likely doing this for SAG etc. What’s one more application?

Curious about making your project DGA Signatory? Follow these simple steps…

Step 1.
Visit the Employers section of the DGA website.


Step 3.
Download the appropriate signatory package on the right hand side.
You may need the following documents
  • Name of Producer Company (company info, llc etc)
  • Project Title
  • Type of project (Theatrical Feature, Movie for Television, Television Series, etc.)
  • Name of Director
  • Principal Photography Start Date
  • Project location
  • Budget
  • Intended Initial Release
  • Company contact information: Name, Title, telephone, email, website

Note:
There is a section on the DGA Application where you will list the Director, UPM and ADs. Its important to note that for most applications you will need to hire members in good standing who are listed on the perspective Qualification List. There are some project types where you may be eligible to hire someone who is not listed in a certain category etc. You can always fill out the crew you know for now ie… (Director and UPM) and then submit the AD names at a later time once it gets closer to filming. If you have any questions about the application don’t be afraid to call the DGA and ask.

Step 4.
Email the packet to signatories@dga.org.

Once your signatory application has been received, a signatory rep will be able to review and let you know what additional items are needed for the signatory process. Should you have questions about the signatory application’s status once sent, contact a Signatories Assistant, at (310) 289-2094.

Step 5.
Upon return of the completed and signed signatory application and forms, the Guild will determine if the producer company presented is the appropriate signatory entity, based on the information provided. Further information may be required.

Step 6.
Signatory status will be given to the Producer at the time the Guild is confident that the necessary signatory and financial assurances’ documents have been provided. The signatory and financial assurances documents will be circulated to the appropriate parties, signed by the authorized representative of the signatory Producer, and delivered to the Guild prior to the commencement of Principal Photography. A payroll deposit is required. It is important to discuss the delivery of the payroll deposit with the Signatory Representative early in the signatory process.