Listen and subscribe on Apple Podcasts or Spotify
Put simply: developing and cultivating a deep work practice is one of the best decisions you can make in an increasingly distracted world and this book will point the way.
Listen and subscribe on Apple Podcasts or Spotify
Put simply: developing and cultivating a deep work practice is one of the best decisions you can make in an increasingly distracted world and this book will point the way.
As productions begin to ramp up knowing the inns and outs of your production policy can be very important. The below article is a guest post from Front Row Insurance.
A SOLID FILM INSURANCE POLICY WILL PROTECT THE PRODUCER FROM:
AN OVERVIEW OF THE FILM INSURANCE POLICIES OFFERED BY FRONT ROW FOR US FILMMAKERS:
PRODUCTION EQUIPMENT INSURANCE
Covers against risks of direct physical loss, damage or destruction to cameras, camera equipment, sound & lighting equipment, grip equipment, portable electrical equipment & generators, mechanical effects equipment and similar miscellaneous equipment.
This coverage also typically includes loss of use of property of others for which the renter or producer is legally liable. The limit of coverage for production equipment should be sufficient to cover the replacement cost of ALL equipment being used on the project. Most equipment rental houses will include in their contract a statement confirming the renter’s requirement to fully insure the equipment in their possession.
Equipment Floater Policy US quote.
SHORT-TERM PRODUCTION INSURANCE (SHORT SHOOT)
Short-Term Production Insurance is perfect for the new or indie filmmaker who may not have more than one project scheduled in the next six months. This coverage is ideal for singular projects and can satisfy insurance requirements from film schools, rental houses, permit offices, prop houses, and/or studio location rental space.
Pricing starts at around $500 USD for minimal coverages. The premium amount for 1-10 days of coverage is the same price and it will increase with the more days you add, but 60 days is the maximum coverage period for short-term policies.
DICE INSURANCE (ANNUAL)
Planning to shoot multiple times throughout the year, and have an estimated budget over $15K USD? Then you’ll want an annual (DICE) policy. This coverage can be much more cost effective than Short-Term Production Insurance. Pricing starts around $2,500 USD for the year. Financing may be available.
Although DICE policies can be completely customized to fit your productions need, the following coverage options are available:
FILM PRODUCER’S E&O INSURANCE
If your project is being sold or distributed, Errors & Omissions (E&O) coverage may be for you; in fact, most distribution contracts will require this coverage. All television, streaming services, and feature films will require this coverage.
E&O coverage protects your production and covers any legal cost if another party accuses you of an unoriginal idea, e.g., title, characters, plots.
Pricing starting around $3,000 USD for three years of coverage.
OTHER FILM INSURANCE COVERAGES TO CONSIDER:
GENERAL LIABILITY
Although film policies vary widely, you’ll always need general liability. General liability covers bodily injury and property damage that occurs during the course of filming. Cast and crew are exempt from this and covered separately through a workers compensation policy. This coverage is required by most city/county permit offices.
WORKERS COMPENSATION
Workers compensation protects you should something happen to your employees on the job. It’s important to go over how you are covering crew (employees) and independent contractors.
THIRD PARTY PROPERTY DAMAGE
Legal liability for damage to or destruction of property belonging to others (including loss of use of the property) while the property is in the care, custody or control of the production company and is used or to be used in an insured production.
NON-OWNED/HIRED AUTO
Hired/Non-Owned Auto Liability covers damages and injuries sustained by other motorists that your production rental vehicle accidentally hits when your production is considered “At Fault”.
UMBRELLA LIABILITY
This policy provides additional limits to the general liability, auto liability, employers’ liability (under workers’ compensation policy) and third party property damage coverages. Some locations will require higher limits than the standard general/auto liability policy of $1mil USD.
GUILD/UNION TRAVEL ACCIDENT
Provides travel accident coverages (accidental death and dismemberment) as required by the guild or union contracts to which the producer is signatory. Coverage is blanket and the limits of liability meet all signatory requirements. Coverage may be extended to non-union employees, usually with a benefit limit of $50K USD each person.
PRODUCTION PACKAGE
A production package is an accumulation of coverages to protect multiple or singular projects such as features, TV series, or documentaries. If you have an annual gross production cost over $100,000 USD and are looking for annual coverage, a production package will be necessary.
Some coverages available in a production package are:
To view all the US film production insurance coverages offered by Front Row, go here: https://www.frontrowinsurance.com/usa
At Front Row, we understand how confusing production insurance can be because many of us were filmmakers (in prior lives) and have been there ourselves! Every film production insurance policy needs to be tailored to the company, or to the project if a short-term film policy. A film insurance policy is based on the best offerings from insurance companies that provide entertainment production coverage.
About: Front Row Insurance Brokers Inc. is an independent insurance brokerage that provides film insurance, including producer’s E&O insurance, for the lowest possible cost. Should a claim occur, Front Row ensures that all clients receive the money that they are owed per the policy, as quickly as possible. Front Row has offices in Vancouver, Toronto, Montreal, Halifax, Nashville, LA and NY.
By: David Hamilton, President+CEO
Listen and subscribe on Apple Podcasts or Spotify
Use this FREE extras breakdown sheet to customize for your particular show!
Consider using the RABS App to digitally check in and wrap Extras in an efficient and secure style.
Listen and subscribe on Apple Podcasts or Spotify
In this episode we talk with Jason Waggenspack about running a studio and making things happen.
Jason is the founder and CEO of Neutral Ground Films and The Ranch Film Studios. He has recently produced “The True Don Quixote” with Tim Blake Nelson and Jacob Batalon as well as “Arceneaux” with Lance Nichols and is currently directing the medicinal cannabis documentary called “Abby’s Joy”. He has played an integral part in landing several major motion pictures to the state of Louisiana for over a decade. He is the Treasure of the Louisiana Film Entertainment Association (LFEA) and is the 2018 Champions Of Tourism Award Winner by the Lt. Governor.
A production meeting often called a page-turn is one of the most important meetings any film or tv show can have prior to shooting. These meetings can vary depending on the size and scope of the project, however in general they look very similar. Below are some ideas for running a mtg for a typical low budget project.
Whenever you have a day in your production that involves Background Actors or “BG” one of the things the AD staff may handle is giving a speech to this group of people. Typically this speech is given by a 2nd 2nd AD or Background PA and is helpful so that things run smoothly and the BG know what to expect and where to go.
Below I have listed 10 things to include in your speech to Background Actors:
When I first started working in the film industry I was working on very very small productions….the kind that didn’t pay or only paid $50 a day. I was still NEW to the industry at the time so I was essentially “paying my dues” as most people would say. I believed that this type of work was temporary but I didn’t necessarily know how I would get onto bigger and higher paying projects. Below I have outlined a few KEY tips to getting that next big job.
You may have landed your first job as a PA but have you landed your next one? What about the one after that? While you are working on set KNOW that almost anyone in the film crew can recommend a PA to the AD staff, Coordinators or Producers. If you work super hard, show people kindness and go above and beyond people will notice….and those “people” will recommend you on future projects.
2. Always show up on time.
Yes it can be hard to make it to set sometimes….especially if your call time is 4:30AM, you only got 5 hours of sleep the night before and you have an hour drive ahead of you. Don’t let excuses or your lack of motivation get to you. Do WHATEVER you have to do to be on time. Lay out your clothes the night before, set three alarm clocks and take a hot shower if you have to. Being on time is super critical in this industry and in some instances can get you fired if you walk in casually late. Always budget contingency time (10-15 minutes) should there be a wreck on the freeway or your car decides not to start.
3. Come Prepared.
Before you head to set STOP and ask yourself if you have everything you possibly need for that particular day. If you are shooting overnight do you have a flashlight? If you will be out in the desert do you have a hat and sunscreen. Even though it only takes a few minutes to hook up my walkie surveillance on set I like to do this at home so the minute I land on set I’m ready to go. Make sure your phone is charged and you bring a charger brick fully charged. Remember you could be in the elements for 12-14 hours so you don’t want to forget that ONE thing that will make your day less comfortable.
4. Read the Call Sheet and Sides.
Take a few minutes when you receive the call sheet and sides to actually see what is happening and who is working. You never know when a crew or cast person may need information about the day that can be found on this very important piece of paper. This is your opportunity to save the day by knowing where things are and what is happening.
5. Carry Hot Bricks.
Hot Bricks are the industry term for “charged walkie batteries.” The minute a crew person has a “Dead Brick” your job should be to zip in and replace it flawlessly. In addition to carrying hot bricks it is a good idea to setup a charging station at each location to keep charging the “Dead Bricks”.
6. Anticipate the needs of the SET.
There will be times when you are on a SET where you may find yourself standing around waiting to be told what to do by an AD. In general there will always be something to do in addition to lock-ups whether that’s throwing trash away, offering the crew water, setting up lunch, moving directors chairs…etc. When in doubt don’t be afraid to ask one of the ADs if there is something you can do.
7. Echo the ADs
One of the main responsibilities of a Production Assistant is echoing rolls. If you are doing a lock-up on SET and the 1st AD says rolling, cut, new deal, pictures up, background action it is expected of all the SET PAs to echo “YELL” one of the before-mentioned words. Don’t be timid. You want to echo so loud that the entire neighborhood hears you….well that is except for certain occasions when you need to be discreet like inside a working office building. Be loud and proud about these echoes because it assures the rest of the crew what is going on and they will know when to be quiet so that a take is not ruined.
8. Dress the part.
Consider wearing good tennis shoes that will be conducive to standing for 12-14 hours. Wear comfortable clothes but make sure they are useful and can hold a belt. Avoid being too casual like showing up in basketball shorts or sweat pants. In many instances its helpful to dress in darker colors (black/grey) so that your bright yellow shirt is not seen as reflection on camera.
9. Learn proper Walkie Etiquette.
Now for many individuals that have never been on a set before this can be one of the most intimidating things to learn. If you aren’t sure how to use a walkie properly ask one of the ADs to show you.
Here are a few examples….
Instead of saying on walkie…does anyone know where John is? You might say does anyone have a “20” on John?
If someone asks where you are refrain from saying general terms like I’m right here. Be specific and say I’m next to the crafty truck.
10. Stay in your lane.
Yes you may have graduated film school and been a DP on numerous short films but if you are working as a PA for whatever set you are hired….make sure you are focusing on the duties and tasks that refer to PAs. Don’t touch equipment or help other departments without prior approval. Depending on the budget of the film will depend on what types of tasks you may or may not be able to help with.
Managing the pre-production process can vary for each type of production, however many of the same issues and problems you will face as a Unit Production Manager or Line Producer will most likely remain the same. Below I have listed 7 ideas to manage the pre-production process as a UPM / Line Producer.
Often I will start prepping a movie and come up with a list of 100 things on the to-do list. Its important to figure out from that list what things need to be accomplished today or this week and which things can wait a bit. I typically like to assign certain tasks to the various weeks of pre-production knowing that many of these tasks will be on-going and overlap.
Example if prepping a low budget movie for 4 weeks:
WEEK 1: setup production office, hire essential production staff, publish crew postings, setup accounting system, secure hotels or housing for out-of-town crew/cast, cast day players
WEEK 2: hire crew, background actors casting, finalize budget/schedule, secure missing locations, vendor quotes
WEEK 3: secure vendors, finalize travel for cast/crew, finalize signatory paperwork, secure basecamp/parking for each location,
WEEK 4: tech scout, production meeting, organize pick-ups, schedule cast fittings/rehearsals, finalize missing crew members
As you get going there can be a lot of changes and updates that will be pertinent to the cast and crew. Its a good idea to routinely send out updated scripts/schedules on a weekly and sometime bi-weekly basis. I generally prefer to not send out updated scripts too often as it becomes cumbersome for everyone involved. One thing I like to do when I hire crew members is to send them a link to the google calendar that they can subscribe to that has important information (tech scout, production meeting, cast fittings, flights etc) along with a 411 info guide (if shooting out of town) with pertinent information. I also create a secret Facebook group that I use to share location photos, 360 photos and videos of the locations so that the DP, PD, Art Director, Set Decorator, Gaffer, Key Grip etc can all be in the loop prior to the official tech scout.
To avoid surprises on Day 1 of principal it is a good idea to talk with all department heads and ask them about their needs in terms of crew, supplies and budget. I typically like to have these talks as early as possible so I can avoid last-minute problems.
Example when talking with your sound mixer…I might ask the following questions:
Do you anticipate needing a 2nd Boom Op or Utility on any days during the shoot?
What does your sound package include? Do we need to rent any additional lavs, comtechs etc?
How many batteries do you generally go through? We have X amount slated for the budget…will this work?
When it comes to sound reports what is your typical work flow?
How do you feel about wiring all the actors? Is there ever a time that this is problematic?
In an effort to bring the film in on time and under budget you want to be able to be in a good place financially before you begin principle photography. When getting quotes for vendors I generally like to get at least three different quotes for each big ticket rental ie… (camera, g&e package, vehicles, hotels etc). Having at least three different quotes will give me the ability to compare numbers before I go back to the vendor and ask for that big discount or deal. Many times vendors will cut their prices to a number you might never think they would simply because they want the gear to work. I have occasionally found that renting equipment (especially smaller jobs) from individuals on SHAREGRID can be more cost effective than renting from a big rental house. Its possible that many of your crew members will own gear…so consider renting their gear at a discounted rate that will be a win-win for both sides.
Here are a few things you can do to make sure you stay under budget
-Adjust prep days on all crew members…eliminating unnecessary prep
-Reduce dept size and consider day-playing crew members on more difficult days. ie…adding more electrics on night exteriors
-If hiring non-union crew consider which crew members rates you might have to reduce
During pre-production I like to have a brief prep meeting at the beginning of each day to talk about the tasks for each day. Having this meeting gives clarity on who is doing what and also gives accountability so no balls are dropped. I like to use a whiteboard so that the tasks are visible to everyone and also document these in an online program like todosit, asana or google docs.
Don’t wait to create the credit list till the end of the shoot or you may hate yourself. Begin this document as soon as possible with a separate special thanks section. I also discuss with the producers what the delivery requirements will be in terms of stills, video and social media. Depending on the project you may be allowed to post social media before and during the shoot….although many shows will want this to be off the grid until a distributor is brought on board.
It can be easy to get caught up with tasks, to-do lists and paperwork that you neglect the people who are making all this possible. Consider scheduling times where departments can hang out and have fun prior to the shoot. These will be key moments that the cast/crew will not forget and will be essential to maintaining a positive atmosphere throughout the film.