In today’s market this line of thinking would need to be re-evaluated.

When thinking of where to film your next production, you must be open to alternative locations and ideas and be willing to shift plans when things don’t go as planned.

Just because a true story took place in “said” town does not mean that you have to film it there.

The primary reason to film any film or TV show in a certain location is the material. If you can’t make the locations work easily, then chasing a film incentive may be counterproductive.

A few questions to ponder when choosing your next location…

Is the timing right?

If the film involves water scenes such as people in a pool, lake, river etc then chances are you will need to film in the summer. Yes, you can film in certain states with warm weather; however, you may need to find a heated pool or limit how long actors can be in the water.

Is the crew base sufficient?

Depending on the time of year, certain markets could be crowded or plentiful. Oftentimes if you speak with the film commissioner from the region, they will have a handle on how busy things are during certain seasons. Most regions that have a film crew will have a database of crew members. Generally you can judge how many crew live there based on the number of people on the database.

Are the locations affordable?

If you have a tiny budget, then filming in a small town could be ideal. In most small towns, I can get a location for free or in the $300-$500 range per day. If you aren’t sure of the price for certain locations, you can always use giggster or Peerspace to check estimates for the types of locations needed. A house in Los Angeles can cost anywhere from $1k to $10k easily per day.

How close is the major airport?

If your closest airport is 3 hours away this could be a problem. You're not only having to travel cast from Los Angeles, but then they have to travel another 1-3 hours to the destination. When thinking of airports you want to see if they have direct flights to Los Angeles as this will be a huge ask from agents.

Is the film incentive viable?

Some film incentives may look great on paper, but in reality, they could be out of funds for the year or recently changed their legislation. It’s critical to have an open line of communication with the film office you are considering and be aware of all the rules/regulations.

1. Does the incentive include ATL?

2. What about Resident vs Non-Resident?

3. Is there a cap per project?

4. Is there an annual cap?

5. Are there sufficient funds?

6. Is it a tax incentive or rebate or mix?

7. How long does it typically take to receive?

8. How does it compare to other regions?

9. Are there any uplifts for filming in certain regions?

10. Do 1099 contractors count?

11. Do businesses have to be registered to qualify?

From development through post, chaos is baked into the system. Tight timelines, shifting locations, last-minute script changes, and a constant stream of decisions are the norm. The difference between a production that feels controlled and one that feels like it’s spiraling usually comes down to one thing: your process for “work.”

The Problem: “Work” Is Undefined

In most productions, “work” is treated as a vague, ever expanding concept.

Answer emails
Update budgets
Chase vendors
Review contracts
Fix mistakes
Prep for the next fire

Without a clear system, everything feels urgent and nothing feels complete.

You end up reacting instead of producing.

Step 1: Define What “Work” Actually Means

Before you optimize anything, you need to define what counts as real progress.

In film production, meaningful work usually falls into a few buckets.

Decision-making. Approving vendors, locking locations, and finalizing schedules.

Information flow. Getting the right data to the right people, including budgets, call sheets, and cost reports.

Execution. Booking travel, processing invoices, onboarding crew.

Risk reduction. Catching errors before they become expensive, such as misclassified labor, missing documents, or compliance issues.

If a task does not clearly fall into one of these categories, it is probably busywork.

Step 2: Build Your Personal Production System

Every strong UPM, Line Producer, or Coordinator has a system, whether they realize it or not.

The best ones make it intentional.

Capture System

You need one place where everything goes. Notes from calls, random requests, and to dos from emails should all live in one consistent place.

This could be a notes app, Notion, or a running Google Doc. The tool does not matter. Consistency does.

Triage System

At the start of each day, ask yourself what must get done today, what is blocking other people, and what has financial impact.

Film production is a dependency machine. Your job is to keep it moving.

Execution Blocks

Most people spend their day reacting to Slack, email, and phone calls. That is not where real progress happens.

Create protected time for real work such as budget updates, incentive tracking, vendor reconciliation, and schedule planning.

Even one or two hours of focused work can outperform an entire day of distraction.

Follow Up System

This is where productions break down.

Not because people forget, but because there is no system to track what is still open.

Missing W 9s
Unapproved purchase orders
Vendor compliance issues
Incentive documentation gaps

You need a simple way to track what is pending, who owns it, and when you last followed up.

Step 3: Standardize Repeatable Workflows

Film production is full of repeatable processes, but most teams rebuild them every time.

That is expensive.

Create simple templates for vendor onboarding, travel booking, incentive documentation, audit prep, and daily production reporting.

This is where tools like Incentiviiz can reduce friction by standardizing how information is tracked and verified.

Step 4: Reduce Decision Fatigue

You make hundreds of decisions per day in production. If every decision requires fresh thinking, you burn out fast.

Instead, create rules.

All vendors must submit a W-9 before payment
No invoice is processed without department approval
All incentive spending is tagged weekly

Rules turn decisions into defaults.

Step 5: Build a Weekly Rhythm

Daily chaos is unavoidable. Weekly structure is not.

On Monday, prioritize the week and identify risks.

Midweek, check progress and follow up on blockers.

On Friday, audit your work, update cost reports, and upload incentive documentation.

This is especially important for incentives. Waiting until the end of production is how money gets left on the table.

Step 6: Think Like a System, Not a Person

The best production professionals do not rely on memory or hustle. They rely on systems.

Instead of asking if you remembered to follow up, ask where it lives in your system.

Instead of saying you will handle something quickly, ask if it is repeatable and should be standardized.

Step 7: Measure What’s Working

If your process is working, you should see fewer last-minute fires, faster approvals, cleaner audits, more accurate cost tracking, and less time chasing people.

If you are still constantly reacting, your system is not built yet. It is just a collection of habits.

Final Thought: Production Is Controlled Chaos

You are never going to eliminate the chaos.

But you can control how you interact with it.

Your process is the difference between feeling overwhelmed and feeling in control, between reacting and leading, and between missing details and catching them early.

In film production, talent matters. But process scales.

After months of building, testing, and refining, QuickDollar.io is finally LIVE on Product Hunt!

While this substack is primarily focused on film related tools, software and strategies I wanted to include each of you in this company I’ve been working on in my free time.

I built QuickDollar to solve the problem of invoicing and W-9s that I have faced for years both being a freelancer and hiring freelancers.

QuickDollar was built to make getting paid easier — no more chasing invoices, managing messy W-9s, or sending endless reminders.

In seconds, you can:
✅ Send invoices and W-9s together via text and email
✅ Send W-9s to clients
✅ Send automatic text + email payment reminders
✅ Get paid faster, with less stress

Now we need your help to spread the word.

👉 Visit Product Hunt upvote and leave a quick comment about why you’re excited to use it.
👉 Share the link with a friend, freelancer, or creative you know who hates waiting to get paid

Every upvote and comment helps us reach more freelancers who deserve an easier way to manage their business.

Thank you for being part of this journey — your early support means the world.

Let’s make getting paid quick, easy, and fair for everyone 💸

With gratitude,

Brandon Riley
Founder, QuickDollar.io

Earlier this year I created a directory for film software. As I look to grow the directory, I am looking for feedback on any of the platforms so I can make the directory the best it can be. You can reply to this email with any thoughts or simply fill out this two-minute SURVEY.

When Producers build out a film or TV budget, they tend to focus on the obvious line items: cast, crew, equipment, locations, and post-production. But increasingly, software and applications are just as essential to running a smooth, cost-effective production. The question is-how much should you actually budget for them?

Why Software Belongs in Every Budget

Production software isn’t just a “nice to have.” It saves time, money, and headaches by centralizing communication, streamlining payroll, reducing errors, and tracking incentives. Without it, you risk relying on scattered spreadsheets, endless email chains, and costly mistakes.

In other words: budgeting for software isn’t an extra—it’s insurance for your production’s efficiency and accuracy.

What to Consider When Budgeting

The cost of software will depend on the size and complexity of your project. Here are the main categories to factor in:

1. Distro, Scheduling & Call Sheets
   The backbone of daily production. Scheduling and call sheet software ensures every department knows where to be, when to be there, and what’s needed. With built-in distribution tools, updates go out instantly—eliminating late-night texts and version confusion. Many of these tools offer SMS notifications which is perfect for last minute changes.

2. Budgeting & Cost Tracking
   Accuracy starts here. Budgeting software gives producers and accountants real-time oversight of spending versus the original plan. From tracking actuals to on-demand cost reports, these tools help avoid overruns and provide stakeholders with up-to-the-minute financial clarity.

3. Continuity
   From wardrobe to props to shot sequences, continuity software keeps the production visually seamless. It helps script supervisors, directors, and editors stay aligned, ensuring small details remain consistent across shooting days and setups.

4. Collaboration & File Sharing
   Modern productions are collaborative by nature, often with teams spread across multiple locations and sometimes countries. File sharing and collaboration platforms make it easy to review dailies, exchange feedback, and store essential documents securely in the cloud—all while keeping communication streamlined.

5. Incentives & Accounting
   Film and TV incentives can make or break a budget. Specialized software can now track eligible spend, generate audit-ready reports, and ensures nothing slips through the cracks. When paired with accounting tools, p-card solutions, it provides producers with a clear financial roadmap while maximizing returns.

How Much to Budget

As a rule of thumb, set aside 0.5% to 1% of your total budget for software and applications.

• On a $1M indie feature, that’s $5,000–$10,000 spread across scheduling, distro, accounting, continuity and more

• On a $10M+ studio-backed series, that’s $50,000–$100,000, often negotiated into annual enterprise licenses across multiple departments.

For smaller projects, many software tools offer monthly subscriptions (anywhere from $30–$500 per department head). Larger productions often invest in enterprise-level plans to unlock advanced features, compliance, and reporting.

Where to list in the Budget?

Instead of putting a lump sum for software in the budget its a good idea to break it up where you can so its not scrutinized by studios or executive producers.

Example #1
Create a line item in the Costume Budget under Purchases or Rentals for continuity software. You could do the same with Props, Set Dec, Makeup, Hair etc

Example #2
In the post section you might create a line item for dailies or for remote work-flows.

Example #3
In the production section of the budget you could list distribution, accounting and even software for incentive management.

Why It Pays Off

While the upfront cost might seem steep, the savings in avoided errors, tax compliance, and time recaptured by the crew more than justify it. A single missed incentive filing or payroll miscalculation could cost more than your entire software budget. A missed continuity situation with the costume department could create a re-shoot day that could turn out to be extremely expensive in some cases.

The Bottom Line

When building your next film or TV budget, don’t treat software as an afterthought. Treat it as a vital line item—just like payroll, rentals, or insurance. By allocating 0.5%–1% of your budget toward the right tools, you’re not just buying software—you’re buying accuracy, accountability, and peace of mind.

Not sure where to get started?

Check out my updated and improved film software directory…. www.filmsoftware.org

1. Apple Notes for Shared Task Lists

Apple's native Notes app is incredibly powerful when used collaboratively.

Example:
If working as a line producer or UPM you can create a shared checklist with one of your PA’s to handle daily errands like coffee runs, Home Depot pickups, or returning wardrobe items. The PA can check off tasks in real time, and you stay in the loop without a single text or call.

Bonus: the checklist updates across devices instantly.

2. WhatsApp Groups for Department Communication

WhatsApp offers more flexibility than traditional group texts, especially on mixed iOS/Android sets. Department heads can create group chats for their departments, and the link or QR code to join can be embedded in a call sheet or onboarding email. This makes it easy to loop in new hires and specialty crew without needing to manually add every number.

3. Shared Albums for Scouting and Reference Photos

Instead of sending scouting photos one by one or creating folders on Dropbox, use iPhone’s Shared Albums. Your location manager can create a shared album for each key location “Warehouse,” “Café Interior,” and “Beach Exterior” and invite the director, production designer, AD team, and producers. Everyone can comment on images, add new angles, or reference looks on the fly.

4. Google Forms for Extra Casting

If you’re filming in a smaller market or a city without a dedicated extras casting service, Google Forms is a free and easy solution. Create a form asking for basic info: name, age, phone, email, availability, headshot upload, and any special skills (like bike riding or salsa dancing). Responses are automatically collected in a spreadsheet that your AD or casting coordinator can manage.

5. Shared Google Calendar for Key Dates

Production calendars can be overwhelming, but a centralized shared Google Calendar makes life easier for department heads and producers. Using the film’s Gmail account, you can create a calendar that includes:

• Production meetings

• Tech scouts

• Director/cast rehearsals

• Principal photography dates

• Lock cut dates, mix sessions, and post milestones

Share the calendar with the crew or department leads only, depending on what level of access makes sense.

6. QuickDollar.io for Location Fees & W-9 Tracking

Tracking down invoices and w-9s for site rentals can be a logistical headache, especially if you’re working on a production with dozens of locations, parking lots, base camps, or last-minute changes. Quick Dollar simplifies this process: the location manager can send a link to the property owner to request payment details and W-9 info and issue a payment instantly. It reduces paperwork and keeps the finance team in sync.

Website: www.quickdollar.io

7. Google Sheets for Master Crew Tracking

Instead of juggling multiple versions of Excel files, a shared Google Sheet allows your production team to track crew contact info, equipment rentals, locations, and more all live and in one place. You can color-code departments, add comment threads, and keep everyone updated without sending attachments.

Suggested Template: Filmmakers Production Bible

8. Calendly for Scheduling Crew Interviews or Location Walkthroughs

Instead of playing email tag, use Calendly to let people pick a time that works. Great for casting sessions, crew onboarding, or location rep walkthroughs.

Website: www.calendly.com

Wrapping Up

Leveraging tools you’re already using, Apple Notes, WhatsApp, iPhone albums, Google Forms, and Google Calendar can keep communication crisp, tasks on track, and your crew informed.

Simple tech can make a big difference, especially when time, money, and sanity are all on the line.

Pre-Production: The Danger of the Infinite To-Do List

Pre-production often feels like a vast ocean of tasks such as scheduling, casting, location scouting, budgeting, permits, crew hiring, equipment rentals, and more.

Everything feels important. Everything feels urgent. But not everything is.

This is where a prioritization system can be a lifesaver. Many producers use variations of the Eisenhower Matrix (Urgent vs. Important) to triage their workload:

• Urgent & Important: Do it now (SAG application deadline is looming).

• Important but Not Urgent: Schedule it (crew contracts for workers who start next week).

• Urgent but Not Important: Delegate it (coffee orders, office supplies, source a vendor for honeywagons).

• Neither: Eliminate or delay (that color-coded spreadsheet no one will look at again).

The second part of defining the work in pre-production is platforms. Without a shared source of truth, whether it’s the Filmmakers Production Bible, Notion, Todoist your team will chase their tails. The goal is to make sure that everyone has access to what needs to happen, by when, and who's responsible.

Pro tip: If it’s not written down, it doesn’t exist.

I like to have tasks written down in a variety of places (whiteboard,. Digital System. To-Do Cards).

It’s a good idea to review the to-do list every day with your team and make sure everyone is clear on who is doing what.

When working as a Line Producer or UPM I often build out a chart of who needs to be hired by what date based on the start date in the budget and based on the time they will need to hire their crew. Having this chart helps me to see the time needed for interviews, etc.

Another thing to consider is looking at the project as a whole in terms of what problems are so complex that they deserve the utmost attention. Generally the issues revolve around casting and locations. If you can solve these two areas early in pre-production, your production process will go much smoother.

Think locations for a minute. Let’s imagine you have 10 locations for a film and you feel good about 4 of them. Out of the 6 left, are there any locations that seem challenging that you need extra help on? This is where it’s time to lean on the location department and consider additional scouts or potentially rely on producers to get their hands dirty. If you don’t come up with a solution quickly, this could delay the entire production. This is a great example of whats urgent important…

Production: A Hundred Fires, One Hose

Once you’re rolling cameras, the work becomes faster, louder, and far more reactive. You’re not just defining your work; you’re helping everyone around you define theirs. The assistant director should meet with the director and DP and determine which scenes should be accomplished before lunch. Is the plan doable? The art department wants to prep tomorrow’s set but doesn’t know if they are allowed to enter yet. The gaffer is waiting to hear from the DP on the next lighting setup. Everything is a moving target.

This is where clear communication structures are your best friend:

• Call Sheets define the official plan.

• Daily production meetings allow for clarification and adjustments.

• Slack/WhatsApp/text chains can be great for side convos—but dangerous if they become the only place decisions are made.

In production, you define the work by constantly asking:

• What absolutely must happen today to keep us on schedule?

• What can wait?

• What’s blocking progress for others?

And, just as importantly, you help others define their work by reinforcing boundaries and priorities. A great upm or assistant director doesn’t just answer questions; they shape the environment so fewer questions need to be asked.

Reminder: If everything is urgent, nothing is.

A Culture of Clarity

The best sets and production teams run on shared clarity. Everyone knows the goal for the day, their role in achieving it, and the tools they have at their disposal. That clarity starts with leadership.

Define the work. Write it down. Share it early. Share it often.

Because in a business where time is money and uncertainty is baked into every scene—clarity is not a luxury. It’s the foundation.

Managing film incentives can feel a little like directing a big-budget action sequence—you’ve got moving parts, tight deadlines, and a whole lot riding on getting it right. But fear not! Whether you’re a seasoned producer or a newbie trying to unlock those sweet state incentives, here’s a behind-the-scenes look at how to approach the incentive process from beginning to end.

Spoiler alert: it’s part art, part science, and a whole lot of staying organized.

🎬 Step 1: Zooming Into Action

First things first, schedule a Zoom with the state or regional film office. Yes, before the cameras roll, before the casting, and definitely before day one of production. This is where you get the lay of the land on what’s eligible, what’s not, and what deadlines you need to tattoo on your brain (or at least your Google Calendar). This is where you ask your questions about the incentivebut don’t forget to share about the story you are getting ready to tell…the team may know a certain location or crew member you need to hire.

👥 Step 2: Assemble the Incentive Avengers

Don’t go at it alone! Bring in other producers, sometimes a Line Producer, UPM and occasionally a rockstar Controller or Accountant who’s fluent in incentive speak. After this initial meeting, figure out who’s going to own the incentive process for the project. It’s gotta be someone who’s sticking around ‘til the bitter end (so don’t just pawn this off on whoever's available—choose wisely!).

📊 Step 3: Budget Breakdown Bonanza

Time to nerd out with Movie Magic Budgeting. Break the budget down into bite-sized, incentive-friendly chunks. Think ATL (Above the Line) vs. BTL (Below the Line), Resident vs. Non-Resident Labor, Qualified vs. Non-Qualified Expenses. (BTW: ATL = Above the Line, not Atlanta, although that’s a fun mix-up.)

One example. Create a group called ATL Non-Resident Labor. Once you have the group created, go in and select an estimate of how many out-of-towners you plan to fly out and put up in hotels. So in one instance you have 20 cast members, and after speaking with the director and producer its’s fair to estimate that you are probably going to fly in the top seven at the very least. With this knowledge, you can tag those seven with the group you have setup.

🧮 Step 4: Crunch Those Numbers

Once your groups are set up, you can pull totals to figure out your estimated qualified spend. Heads up: depending on the state, you might have certain expenses that will qualify in one state but not the other. Some states might not consider airfare, per diem, and contingency funds to be ineligible. You can consider counting about 50% of contingency towards eligibility (a conservative estimate, but it keeps you out of trouble later).

📝 Step 5: Application Time

Now you’re ready to submit that sweet, sweet application. Some states have rolling deadlines, while others only accept submissions once or twice a year. Don’t get caught off guard; timing can make or break your ability to qualify. Once approved you may have a window of time to begin so its important to understand in depth what the approval really means.

🔍 Step 6: Bring in the Audit Squad

Once your project is approved, ask the film office for a list of recommended auditors. Get them involved early, like, really early. A bimonthly check-in with your auditor during production will save you from a world of hurt during post.

💸 Step 7: Payroll Pick ‘Em

Choose a film and TV payroll company that will work great for your specific project. Companies like GreenSlate or Wrapbook have easy-to-use interfaces and can make onboarding pretty streamlined. Make sure your payroll partner understands the specific rules of your incentive state. Classifying loan-outs and ensuring vendor compliance are easy to mess up; don’t assume the payroll company is handling it all correctly. Its ok to setup a call with your payroll partner and review some of the requirements witht them so you don’t miss out on specific charges.

🧑‍💻 Step 8: Master the Software and Execute On Time

Once you have your payroll platform in place, it’s a good idea to train your team—early and often. Set a clear workflow with deadlines. Want everyone paid by the following Thursday? Make timecard deadlines due Monday at noon with reminders to those who did not submit to go out that afternoon.

💳 Step 9: No More Cash Chaos

Cash is out, digital cards are in. Digital Petty Cards or (P-Cards) like Cashet or PEX can make tracking thousands of transactions a walk in the park or as close as you can get to a walk in the park. Train everyone on how to use their P-cards and capture receipts like a boss. This is way better than hunting down an art director for a crumpled gas receipt two months later. Avoid paying per diem to actors and crew via cash if you can. Even a simple zelle/venmo payment is better than an envelope of cash when it comes to an audit.

🗂 Step 10: File Like a Filmmaker

Organization is your best friend. Create a folder structure that is easy to duplicate and navigate. For P-Cards, you might create folders by card number and week-ending date (e.g., CARD1234 > WE0901). Use Dropbox, Google Drive, or whatever works—but use something.

📘 Step 11: Choose Your Accounting Software

Your payroll company might have built-in accounting tools that will suffice, or you can go with something like QuickBooks to keep everything in one place. Just make sure it integrates with your other systems and your team is trained up.

🧑‍🎤 Step 12: Extras Made Easy

Paying background actors? Use platforms like Run A Better Set or Everyset to make this process digital and accurate. If it’s just a few folks, you can onboard them through payroll like regular crew members.

🧾 Step 13: Vendor Management 101

Set up a dedicated email for vendor paperwork (e.g., filmnameaccounting@gmail.com). Once you have this email setup be sure to communicate to Dept heads and coordinators of this email. If someone forgets and sends the vendor invoice to a Producer or Accountant it could easily get lost. Consider using software solutions like Conduiit to streamline the vendor approval process and keep track of your backup!

📅 Step 14: Schedule Review Rituals

Decide in advance when you’ll review payroll, cost reports and incentive updates. Weekly? Biweekly? Monthly? Get those Zoom links out, and keep the whole team in the loop. Don’t wait until chaos hits—by then, it’s too late.

💡 Step 15: Incentive Software = Your Secret Weapon

Use incentive software to save you $$$$. Tools like Incentiviiz are game-changers. They’ll flag potentially qualifying transactions missing key documentation and help you stay compliant. Upload your general ledger weekly, link your backups, and tackle red flags while your full team is still around.

🎞 Step 16: Don’t Forget About Post

Will any post-work qualify for incentives? Decide early. If yes, pay those vendors upfront, so you’re not stuck waiting to begin the audit process. Once post wraps and no additional qualifying costs are expected, reach out to your state contact to get the audit rolling.

🤝 Step 17: Wrangle the Final Few – The Audit

Now it’s time to tag-team with your auditor, the state department, and (ideally) a savvy assistant. If you’ve set solid systems in place, this final stretch will feel like a victory lap. If not… well, let’s just say audits don’t have a “fix-it-in-post” option.

🎬 Wrap-Up
Managing Film incentives can be a tricky thing, but if you start your film or tv show off right with the proper systems and software, you can make it slightly less painful. And hey, who doesn’t love a little extra money to bring their creative vision to life?

Have questions or want to nerd out over incentives? Let’s talk in the comments! 👇

As a Producer, Unit Production Manager (UPM) or First Assistant Director (1st AD), part of your job is making sure things get done, whether or not the Director wants to do them.

Directors are visionaries, storytellers, and creative leaders, but that doesn’t mean they love every part of the filmmaking process. Maybe they hate dealing with studio notes. Maybe they avoid difficult conversations with actors. Maybe they drag their feet on reshoots, marketing obligations, or budget talks.

That’s where we come in. Our role isn’t just to manage logistics; it’s to make sure the director can actually direct, even if that means nudging them toward the tasks they’d rather ignore.

Understanding Director Resistance

Before you push a director to do something they’re resisting, understand why they’re resisting it. Some common reasons:

• They don’t see the value – If it’s not creative, it feels like a waste of time.

• They fear conflict – They’d rather avoid difficult conversations.

• They feel overwhelmed – There’s too much happening, and this is just one more thing.

• They think it’s someone else’s job – They assume producers or marketing teams will handle it.

The key to getting them on board is framing the task in a way that aligns with their priorities and their vision.

How to Get a Director to Do the Work They’d Rather Avoid

1. Reframe the Task as a Creative Decision

Directors are storytellers: so make the task about the story and get excited with them!

❌ Instead of: “Can you review the VFX shots that were sent over today?”
✅ Say: “Did you see the VFX shots we received on frame.io? A few of them look pretty epic! Do you have time today to give your notes?”

❌ Instead of: “I think we need to cut a scene or shot at the pace we are going.”
✅ Say: “What do you think about consolidating a few of our shots from the shot list so that we can try to get all the scenes we had scheduled today?”

When you bring a solution to a stressful situation, they’re more likely to engage.

2. Make the Decision easy by providing options

Most Directors don’t care about paperwork, scheduling, or admin work, but they do care about getting their film made at the highest level possible.

❌ Instead of: “How is the shot list coming? Did you meet with the DP?”
✅ Say: “I spoke with the DP and he said he can meet up with you on Tuesday and Thursday afternoons to work on the shot list. Does that work for you?

Remind them that this isn’t about the task—it’s about what it enables.

3. Use the ‘Do It First’ Approach

If there’s something the director is avoiding, like a tough conversation with an actor, a studio call, or approving costume designs, get them to do it first thing in the day.

❌ Instead of: “Can you talk to _______ ? They won’t come out of their trailer!”
✅ Say: “We’re losing a lot of time waiting on _______ . I could talk with them, but I really think you should be the one to explain how important these scenes are. They’ll listen to you!”

• Create a short-list of things you need answered and bring it to the Director’s attention early in the day. One of the best times may be after the first rehearsal when the departments are adjusting the set.

4. Set Boundaries and Time Limits

Some Directors can get sucked into creative rabbit holes, making tasks drag on. Set clear time limits.

❌ Instead of: “We need to go through the entire post-production schedule today.”
✅ Say: “I’ve got a zoom scheduled with a post house at 1pm. They said they can talk for about 30 minutes, so we will need to be brief and to the point.”

Make it feel manageable, not overwhelming.

5. Keep them updated with regards to time and money

Directors care about their vision but often forget about the schedule or budget they are working with. As a UPM or 1st AD you can bring schedule and budget issues to the Director periodically so they don’t need to worry.

• “We have one hour before lunch. Do you think we can get this next shot or scene? We could always try and get the master at the very least…”

• “I just spoke with art department, and the set for next week is going to cost more than planned. I did the math, and if we cut a few dozen background it will help us stay on track. What do you think?”

6. Offer Support Without Taking Over

Sometimes, directors don’t want to do something because they don’t know where to start. Offer to set things in motion for them.

🎬 Example:
If they’re avoiding a studio meeting, say:
“I’ll prep some talking points and sit in with you. You just need to be there to sign off on decisions.”

If they’re dreading reshoots, say:
“I’ll talk to the agents and see the availability for _________ ; If they can do it next month, then we can get back to editing.”

Make it easier for them to say ‘yes.’

7. Find Gratitude and Perspective

When things get stressful, remind the director why they’re here. They’re making a movie, something most people only dream about.

• “Can you believe we get paid to work in these amazing locations and call this a job?”

• “I know it’s frustrating, but imagine how great it’ll feel when its playing in theaters and you see the audience react.”

A little perspective shift can go a long way.

Final Takeaway: The Best Directors Do the Hard Work

The most respected filmmakers, whether it’s Spielberg, Chloé Zhao, Villeneuve, or Ava DuVernay, don’t just direct actors and frame shots. They do the tough, unglamorous work that ensures their films succeed.

As UPMs and 1st ADs, our job isn’t just to manage logistics; it’s to help directors navigate the challenges they don’t want to deal with. When we do our jobs right, they get to focus on what they do best: telling unforgettable stories.

Now, let’s get to work.

Ready to simplify your film incentives management?

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• Generate instant tax incentive estimates for various states

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Don’t miss out on transforming your production’s financial journey—

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After many years working as a freelancer, I found myself with the same problem over and over again. It was a pain collecting W-9s and invoices from various clients or individuals.

Quick Dollar is the solution to getting paid QUICKLY as a freelancer.

1. Create an invoice and w9 in less than a minute

2. Both invoice and w9 are sent to the client via text and email

3. Don’t worry about reminding them to pay. Quick Dollar will do the work with text reminders.

Let me give you a few examples.

Example #1

You are working on a film that has a lot of locations and perhaps neighboring businesses that need to be paid off. For each location, you will need a location release/agreement, invoice, and W9. The problem is that some of these locations may be owned by someone who is not very tech-savvy and still has no idea how to create an invoice or fill out a W9. You are either forced to create an invoice for them and then get them to sign a W9 physically (which then you have to scan in) or pester them until they send you the needed documents. Now you can simply text them the link to quickdollar.io when needing this info.

Example #2

A producer hires you to create a schedule or budget for a film in development. You know they need the W9 if the payment is over $600 so you create an invoice on quickdollar.io after you send the deliverables. Quick Dollar sends both the invoice and W9 instantly via text and email so you don’t have to worry if they got it.

Example #3

Let’s imagine that you are working on a film project and you want to Zelle/Venmo/Cashapp, etc whenever there is a reimbursement. Using Quick Dollar crew members can easily fill out the form www.quickdollar.io and attach the receipt, and fill out their payment info without you having to collect this info separately.

What’s Next?

Right now QuickDollar is FREE to send invoices and W9s while in BETA. We would love to get feedback, reviews, and more!

Follow the progress on https://www.instagram.com/quick_dollar_dot_io/

#app #application #web #invoice #w9 #film #tv #production #lineproducer #producer #dga #pga

In this insightful episode of Go for Production, host Brandon Riley sits down with Dori Zavala as they talk everything legal. With over 23 years of experience in legal, business, and finance, Dori has made it her mission to guide filmmakers through the often-overlooked yet critical world of film financing, legalities, and production clearances. She shares how her consulting practice, Open For Show Business, equips creatives with the strategic tools they need to bring a script to life—all while avoiding costly legal pitfalls. Dori and Brandon delve into the foundational steps every producer should take before cameras roll, starting with setting up an LLC to protect personal assets, establishing a business bank account, and getting key investor documents in order. They discuss essential contracts—everything from cast and crew agreements to location releases—and underscore the importance of transparency and clarity in every deal. Dori explains the complexities of copyright law, particularly for artwork and music, showing why seemingly small details can make or break a film’s distribution potential. Whether you’re an independent filmmaker piecing together a million-dollar budget or a producer looking to safeguard your project for future distribution, Dori's expertise offers invaluable guidance. Learn how to streamline your production’s legal workflow, handle complicated negotiations with agents, and ensure you have a clear roadmap for financing, music licensing, and more. By the end of this conversation, you’ll understand why having an entertainment attorney on board early can save you time, money, and stress in the long run.

When it comes to any creative endeavor, the process can vary based on so many factors. Time, money, crew size, outside environments, and more can drastically effect the way the work is completed.

When it comes to your process and someone else’s process, the task is figuring out how to best work with each other and respect someone’s previous way of doing things.

One can abandon their own process in favor of someone' else’s process for the sake of time, or the two can talk about process and find a process that works for both of them.

Sometimes a new process may emerge or evolve when people are open to a process that is innovative and collaborative.

Getting excited about “the process” is important because it naturally is an essential part of the creative work.

It can actually be quite fun to figure out the best way to get the work done in the best possible way.

An Example:

The Process of Directing Background Actors

When it comes to directing background actors, there are so many different ways to go about this. I often like to ask other ADs how they do it…do they have any tips or tricks? What’s their process, and how do they typically go about it?

Some ADs like to give Background a purpose and destination. They might even give each background or group of background a backstory to believe in, etc…

Some ADs like to only focus on where the Background should start and stop based on a point in the script or action.

I’ve seen ADs draw out very specific floor patterns on an iPad that detail the entire path and crossing action, and I’ve seen other ADs just give a general announcement to the BG to run or walk when the word “Background” is called.

There are so many ways to get that authentic performance, and the process does matter or should matter.

Without a clear process, you may have confusion on set when everyone is not on the same page and attempt to do their own thing. You may waste time setting background in a way that is not effective or what matches the Director’s vision.

Discussing the process is ultimately what really matters.

Things to consider:

1. Who on the team should be involved in the conversation about “The Process”?

   (ie…. Director, 1st AD, 2nd AD, 2nd 2nd ADs, PAs, etc)
   

2. When is the best time to discuss “the process”?

   (During prep, Right before a scene with lots of extras)
   

3. What variables should be considered each day that might alter “the process”?

   (Are there stunts…if so should the stunt coordinator be involved or intimacy coordinator if a scene calls for it?)
   

4. Are there any tools (apps, software, technology, physical products) that can help make “the process” run smoothly?

   (Are you setup with a digital system to handle vouchers? What about extra sides on hand?)
   

5. Are there any ways to speed up the process so we can avoid overtime?

   (Should we hire an additional AD for the day or bring in some of the BG earlier than planned just in case?)

These are just a few of the things to consider that can make your process the best it can be.

Over the years I’ve used a variety of programs to keep track of tasks and to dos. Sometimes these programs were successful and other-times not so much. The key to finding a solution is to really understand your team, their preferences and get everyone on board. If you have a crew of 50 or 100 you don’t necessarily need everyone to be part of your task management system. Sometimes I have a shared system with just a few people and other times I share with production and dept heads.

Below I have outlined a few apps and software programs to consider.

1. Todoist

I like Todoist because its simple, has a web and mobile app and very affordable. I’ve used Todoist on a number of film and tv projects. It typically only takes a few minutes to show my team the work-flow and then we are off to the races. Highly recommend.

2. Airtable

If you are looking for something robust with lots of templates, Airtable is one of the leading apps to consider. It does take a little bit of time to learn and configure so be cognizant of the adoption rate.

3. Monday.com

   Similar to Airtable, Monday.com offers a number of templates and views to track to-dos. Monday.com is one of the leading apps when it comes to customizable tasks.

   

   4. icloud Notes

   
   Sometimes using the simple Notes program on the Apple OS is the easiest thing to start with. Consider creating shared notes for different departments such as Locations, Art etc.

   

   5. Slack
   
   Even though I’ve used Slack for many years, I only recently discovered the Canvas (built inside Slack) feature which allows you the ability to create to-do lists for any channel that you have already contributed to.

6. Producer
   
   PRODUCER is your all-in-one solution, delivering seamless workflow management for creative professionals.

   

   
   7. Assemble

   
   Assemble is one of the few programs I found that really understands the film and tv market. Tasks are assigned to time and put on a calendar so you can see the bigger picture.

   

   8. Studio Binder

   
   One of the leading software companies, Studio Binder offers a variety of calendar and project management tools.

   

   
   

On any movie / tv / commercial set there is bound to be waiting when the cameras aren’t rolling. You might be waiting for “lighting” or waiting for “talent.” In between setups or shots its the role of the 1st Assistant Director to check in with various departments and see how long everyone needs so that the company can start filming again. Sometimes the time estimates from any one department may be exaggerated too long or too short so its typically a balancing act on when everyone will be ready. Sometimes a dept will forget to notify the 1st AD they are indeed ready so its crucial that the AD has their head on a swivel and is constantly aware of things that are preventing the Director from filming.

Here are a few things you might be waiting on as a 1st AD before you begin that next shot.

1. Talent to arrive to set.

2. Talent to finish in Hair and Makeup.

3. Talent to get dressed or changed.

4. Talent to leave their trailer or get off a phone call etc….

5. Sound to finish mic’ing an actor.

6. Lighting Dept to finish adjusting lights.

7. Grip Dept to finish adjusting grip equipment.

8. Set Dressers to finish moving set dressing.

9. Props to be done giving props to actors.

10. An important crew person like the DP to return from the bathroom.

11. Hair and Makeup to have given last looks to actors.

12. A conversation between the DP and Director where they agree on the shot.

13. The Director to have spoken with talent.

14. The decision to do a rehearsal or shoot the rehearsal.

15. The confirmation with the Script Supervisor and the 2nd AC on what scene number or letter is on the slate.

16. Costumes to do any last looks on talent.

17. If a scene involves stunts the double check with the stunt coordinator and stunt performers.

18. If a scene involves VFX the double check with the vfx supervisor on placement of VFX markers etc

19. If a scene involves playback then to check with sound on the status.

20. If a scene involves animals the check in with the animal wranglers on the animal and in some cases the animal humane society.

21. If a scene is very emotional then giving time for the actor(s) to get in their head space.

22. If a scene involves a sexual situation then to check with the intimacy coordinator and actors prior to going if they are clear and ready.

23. If a scene involves lots of extras then checking with the 2nd 2nd AD and additional ADs who are assisting to set the extras to confirm that extras know their crosses and where to go.

24. If a scene involves lots of cars and drivers its confirming that all drivers know their route, how to reset and how to speak clearly on the walkie.

25. Background Actors to be in position.

26. Is the fog just right if in use?

27. Double checking with camera operators if the camera is in its first position while on a dolly track etc.

28. If filming near a noisy area such as near an airport or busy street then waiting for the plane to pass or the large truck to finish reversing.

29. If working in a scene that involves cuing actors from a long distance then checking to make sure that the AD or PA is in place to cue them via walkie and that the actor knows their cue.

30. If a special effect is to be used such as snow that the FX person is ready and in the right position.
    
    Out of the 30 things listed there still may be things an Assistant Director is waiting for. What’s important is that in between setups everyone feels the pressure to start filming again. If any one dept is moving too slow or forgets to reset then this can cause a delay in filming and potential lost takes for the Director.

    
    

At almost every intersection across the world, there is a device with three lights connected together called the stoplight. These colors have a universal meaning that everyone knows. Green is go, yellow is slow down, and red is stop. Simple. We all understand the implications. We all know what it means.

In the film industry, if a project is green-lit, it means its go time and your off to the races. The problem a lot of times is that getting to this green-light stage of the process can take longer than planned, and sometimes it never happens.

Projects can take a while to greenlight for a variety of reasons. Sometimes you are waiting on money, other times its an actor waiting to sign, studios could take forever with legal, or in today’s world, waiting on a potential strike to clear.

The tough part about knowing about a potential project or being attached to a project that is about to green-light is that there are so many factors that the project could literally fall apart at any moment. Its amazing that anything gets green-lit today let alone quickly.

One of the challenges for independent films is casting and competing with larger films or tv shows that demand top-tier talent. Studios face the challenge of green-lighting projects when legal has to go back and forth between parties, etc.

There is a certain adrenaline to green-lighting a project or being a part of a project that is moving forward. The energy can feel exhilarating, but also scary with so many unknowns.

Waiting for a green-light is tough. What’s tough is when the project feels close and then it fizzles out, the dates push, or the studios change their minds. How do you describe this feeling to those in the outside world other than “buying a home, having a child or winning the lottery?” Making a film is a life-changing event. Working in the film industry is definitely full of ups and downs, but the highs of being on the cusp of a green-lit project are definitely pretty high compared to a lot of other jobs where products are shipped. You might also compare it to starting a company, launching an app or opening a new division.

To say “let’s go make a movie” and fly to another state or country to start the mission can be a pretty euphoric feeling I won’t deny.

But how do you deal with the yellow lights or the red lights? How does one in the film industry deal with being attached to so many projects that never take off or will someday take off if the stars align? I’m not sure I have the answer to this question other than having lots of possible projects and being attached to lots of projects.

When I first started out in the industry, I had zero possible projects to look forward to and overtime I met people, worked on lots of things, and now I’m attached to more than a dozen that could take off at any moment.

Its easy to get worked up about any one or more of these projects and try and force them to green-light but most of the time you can’t force anything to happen. The best you can do is help a project be as ready as possible so its easier to green-light. For me that’s fine-tuning schedules, budgets, scripts, cast lists and pitch decks to align with the financiers or the studio needs. Its answering emails, taking calls and being available to figure out state tax incentives or looking for key locations that will impact the project. Yes this might be depressing on occasion, but think of it as a yellow light. Ask yourself what can you do to help move one of your projects forward. Even if your not in a position to green-light a project you can always recommend useful location options to the Director/Producers.. I recently had someone offer to do a day of free scouting knowing the project might get green-lit.

The hard part about working as a Line Producer, UPM or AD is that these are often the first positions hired on a project or attached prior to being green-lit. I can’t think of a film I’ve been on in the last few years that hasn't been pushed at least once or twice due to actor conflicts or other chaos. You get the green light, and then theres a yellow light or sometimes a red light.

Waiting for green lights is tough. There is no easy way to cope when a project is stalled other than to see what you can do to move the needle forward. At the end of the day don’t put all your hopes and dreams in any one project unless its Barbie or Oppenheimer….then do so.

Its a very simple exercise with the help of a whiteboard and a myriad of colors. I prefer to do it at the beginning of each week when prepping a film or tv show.

Step #1: Decide who will be at the meeting, the frequency and time of the meeting.

The meeting could be a small group of three people or up to 7 in some cases. More than seven people and the exercise tends be a tad complicated as most people are reserved and stop participating the larger the meeting gets. I prefer an early Monday meeting to set the tone and pace for the week. If you have the meeting to late in the day you end up waisting a lot of time answering questions that could be answered during the morning meeting.

Step #2: Create a series of buckets based on the situation at hand.

If you are in pre-production and meeting with crew members from your production team you might have a series of buckets or headers like this.

CAST | CREW | LOCATIONS | ACCOUNTING | VENDORS | TRAVEL

If you are in pre-production and meeting with members from the AD team you might have headers like this.

CAST | EXTRAS | LOCATIONS | VFX | ANIMALS | PICTURE VEHICLES

Adjust your buckets or headers accordingly based on who is in the meeting and what goals or tasks you are trying to accomplish.

Step #3: Create three sections for each category. One that is urgent important, important and to review.

You can do this step after you list all your to-dos or you can do it before. What’s important is to rank your to-dos in order of importance. You don’t want to worry about about the 1950s car today if it currently works the last day of the movie and you are still weeks away from shooting.

Step #4. List to dos for each section that are of concern.

While it may be impossible to list every single thing that needs to be done for each category its important to think of big picture things. For example when it comes to VFX you can know that certain things can be accomplished such as setting up a call with the VFX Supervisor and figuring out which shots will be vfx or practical.

Step #5. Assign tasks to individuals once everything is listed.

This is the key step in defining the work is deciding if one person will do certain tasks or a tasks will be accomplished by multiple people and which crew members. In addition to deciding who will do the tasks its important to know when the tasks will be created and which tasks that fall in the urgent important have to be done today vs sometime this week.

Step #6. Digitize everything on the whiteboard.

The whiteboard is great but you may be out driving around and want to pull up your to-do list on your phone or tablet. Its helpful to have an app available such as Monday.com, Click-Up, Todoist or Asana to name a few to keep track of all the tasks and see where everyone’s at.

Step #7. Revisit the whiteboard.

Whether you revisit the whiteboard at the end of each day or the beginning of each day its important to continually review to-dos and see the progress that has been made. If you don’t check up on these to dos you may have an important tasks such as “secure production insurance” slip by the wayside that could jeopardize the entire production.

1. Lens Cleaning Kit:

   • A high-quality lens cleaning kit can help filmmakers keep their camera lenses and equipment clean and free from smudges.

2. Storyboard Notebook:

   • A specialized notebook designed for storyboarding can be a handy tool for filmmakers to sketch out their ideas and visualize scenes. A great gift for Directors, Cinematographers and more…

3. LED Video Light:

   • Portable LED lights are essential for filmmakers working in low-light conditions. Look for a compact, rechargeable LED video light for added versatility.

4. Camera Lens Coffee Mug:

   • A fun and creative gift, a camera lens-shaped coffee mug can be a quirky addition to a filmmaker's desk or gear bag.

5. Writing Dice:

   • A writing game that can be useful to get those creative ideas flowing.

6. Film Clapboard Kit:

   • A black and white slate that can be useful when recording out in the field.

7. Portable Green Screen:

   • For filmmakers interested in experimenting with chroma key effects, a collapsible and portable green screen is a great, budget-friendly option.

8. Colorful Earpiece:

   • Consider gifting a gift that will be useful on set! These colorful earpieces can be used as a useful walkie accessory.

9. RGB Light Wand:

   • A great tool to direct traffic or use for Behind the Scenes interviews in a pinch.

10. Top 100 Movies Scratch Off Poster

    • Any film professional will appreciate this bucket list film poster.

One of the things about casting is getting the offer ready to send to agents and managers. Below I have pasted three example offer letters that you can customize on your next project. It’s important that the UPM or Line Producer communicate with the Casting Director prior to sending out offers to make sure the offers are as accurate as possible as dates may have shifted etc.

Example #1

Hi Agent/Manager

Per our conversation, we are thrilled to offer the role of “JORDAN” in our upcoming film UNTITLED CHRISTMAS MOVIE to your client Rance Michaels!

Here are the initial details:

Project: UNTITLED CHRISTMAS MOVIE (SAG Mod Low Budget Project)

Location: Los Angeles

Shoot Dates: January 1 – 31st, 2024

Role: “JORDAN”

Compensation:

SAG MLB Weekly Scale ($1,315 +10% per wk) against Total Guaranteed Compensation of $15,000, inclusive of the following:

• Three (3) weeks of principal photography

• Up to two (2) prep/rehearsal days (may be non-consecutive)

• One (1) post-production day

• Inclusive of agency fees

Billing: Main Titles, Single Card, First Position

Dressing Room: Private dressing room with access to shared bathroom at or near each location

Please let me know if you have any questions/comments. I’m available via email, or you can call my cell anytime at (310) 123-4567.

Example #2

Hi Agnet/Manager

We would like to make an offer to Kristen Smith for the role of Agent II for the movie Untitled Sci-Fi Flick.

Location: Los Angeles
Dates: June 21st, 22nd, 23rd & June 30th 2024
Rate: SAG LB $703 + 10%
Role: Agent II

Please kindly confirm and get back to us by the end of the week!

Example #3

Hi Agent/Manager

Thanks so much for your patience as we’ve nailed down our casting and logistics.

On behalf of Untitled Movie, LLC we would like to make an offer to John Smith for the role of Warden Archer for the feature film provisionally titled Evil One.

Location: Oklahoma City, OK

Dates: On or about Dec 1st - Dec 17th 2024 (8-10 shoot days)

Rate: $3,664/wk SAG Weekly Scale + 10% (guarantee 3 weeks)

Contract: SAG BA

Role: Warden Archer

Billing: 3rd Position + Single Card 

Travel: 1 First Class RT Airfare or Travel Reimbursement

Accommodations: 4 Star Hotel

Per Diem: $60/per day

Dressing Rooms: Private Dressing room.

Employment is subject to execution of a long form agreement and acceptance of Producer's Covid-19 safety protocols.

Thanks in advance for your help in speedily processing the offer.