Use this FREE extras breakdown sheet to customize for your particular show!
Use a solid template. We have attached one in this blog post (with dummy data as an example)…but if you don’t have a template you are proud of don’t be afraid to reach out to your fellow AD staff (or an AD you trust) who may have one tucked away in a dropbox folder somewhere.
Make sure the BG DOOD is accurate. Before you start transferring data from the BG DOOD to the Extras Breakdown its important to check with the 1st AD and assess how accurate this breakdown really is. Often times a 1st AD will sit with the Director and go over the exact numbers with the Director and then get approval from a UPM or Line Producer.
Be as detailed as possible. If you have a funeral don’t just list 100 funeral patrons. Do there need to be family members or friends of certain ethnicity and race? What about minors and their ages? If the breakdown is generic don’t be afraid to approach the 1st AD or Director to get this information so that you are providing the very best information to those who receive the list.
Don’t start too soon. If you start creating your BG sheet right away you will most likely have to change it a dozen times. Wait till you are in a position during prep where the 1st AD feels pretty good about the schedule.
Use colors and various font treatments. Highlighting various things in colors such as locations, featured BG or special notes will make the document easier to read.
Create a Distro List for this document. Every show is slightly different but in general you will want to make sure that various depts receive a copy of the list including (Props, Transpo, Locations, Hair, Makeup, Costumes and essential individuals such as the UPM). You don’t want to send this to the entire crew because the third grip really doesn’t need to know.
- Include ADD’L AD and PA staff in the breakdown. If you are going to have a certain amount of Extras you will probably want to schedule and budget additional days for AD’s and PAs on this document. Depending on the complexity of the scene will help you determine how to figure this out. If you have 100 students in bleachers the whole time it will be easier to direct and manage than 100 students crossing in the hallways.
- Don’t forget to update when the schedule changes. Changes are the one-liner will change many times during the course of production unless its a relatively short amount of days. When it does change…don’t forget to update this document and distort immediately. Various depts will rely on this info to make sure they are prepared on the day and aren’t surprised by the sudden change.
- Save and Label properly. Make sure this document is exported as a .PDF and labeled in a way that shows the current date and version. example MOVIE_NAME_BG_BREAKDOWN_1_1_2020.pdf.
- Make it your own. There are no exact rules to a breakdown so make it your own and the very best it can be. Take pride in making this breakdown the very best it can be for that particular show you are on.
In this episode we talk with Butch Kaplan about the various roles of producers, hiring practices and maintaining longevity in the film/tv industry
Butch (@butchkaplan on instagram) has been working as a Producer & Production Manager in Film and Television for over 30 years. Some of Butch’s credits include Fear The Walking Dead, John Q, The Notebook, Alpha Dog, Bablyon AD and Oldboy.
Mentioned in the Podcast
In this episode we talk with Unit Production Manager Seth Edelstein about the process he uses when building an all-star team.
Seth started out in the film industry as a Production Assistant and then got into the DGA Trainee program in the 90s and went on to work as an 2nd 2nd AD, 2nd AD, 1st AD and now Unit Production Manager. Some of Seth’s credits include Nightcrawler, Liar Liar, Dodgeball, Speed, Beethoven 2nd, Better Caul Saul, American Crime Story, The Mentalist, Without a Trace to name a few.
Books Mentioned in the episode: Crucial Conversations
In this tutorial video I walk you through the simple steps to make changes to a script during pre-production. This video can be used to guide a Director, Writer, Script Coordinator, UPM, LP, 1st AD, Producer or whoever may be making updates to a script using Final Draft and unfamiliar with the process or the latest program.
The main thing to remember is that you always want to keep your scene numbers locked to prevent confusion among Dept Heads!
The following items are covered in this tutorial:
- Adding scene numbers
- Setting up revisions mode
- Omitting a scene
- Adding a scene
- Moving a scene
The following items are covered in this tutorial:
- Using a folder structure and staying organized
- Updating the title page properly
- Using Revisions mode Page Colors
- Saving multiple versions (colored, bw, and clean version)
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.
- Collect info and signatures for Cast (deals, w9s and misc documents)
- Collect info and signatures for Crew
- Get location contracts signed
- Give access to multiple team members to control who receives paperwork
- Create templates that speed up the process and can be used over and over again
- 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***
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…
Visit the Employers section of the DGA website.
Click Learn more about Becoming Signatory.
- 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
- Intended Initial Release
- Company contact information: Name, Title, telephone, email, website
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.
Email the packet to email@example.com.
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.
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.
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.
When setting up a mobile production office…the task to organize the mounds of paperwork can be challenging. Over the years I’ve discovered a few tools to make my life a tad easier.
Hanging File Organizer $12.99
-Buy on Amazon
Pendaflex Hanging Organizer $14.99
-Buy on Amazon
Fellows Workstation $7.08
-Buy on Amazon
Wonderfile Portable Workstation $34.50
-Buy on Amazon
Office Depot Large Mobile File Box $15.30
-Buy on Amazon
Google forms are easy to create customizable forms that will make your life easier when it comes to collecting data. You can create them in minutes and google gives you the ability to send this data to a google doc spreadsheet that creates a seamless workflow when collaborating in a team environment.
Here are a few ways to use Google Forms for your production:
#1. Actor Info
Collect the following (email, cell, agent info, flight preference, food preference, clothing dimensions for costumes, etc).
#2 Crew Info
Collect room preference (if sharing rooms and requesting roommates) food preference, travel info, etc
#3 Volunteer Extras
Create a form to recruit extras for your production
How To Make a Google Form:
- Go to forms.google.com.
- Click Blank .
- A new form will open.
- Fill in the details (Create fields such as name, email, specific questions etc)
- Set the response destination
- Copy the link and send out in an email
Whether you are sending call sheets or looking at actor demo reels, fast internet is critical for any production on the road. The problem lies however with a majority of the internet carriers who like to throttle the “unlimited service” after you have used a certain amount of Data. Yes you can purchase a mifi from Verizon, At&t or Sprint…however you will either pay a ton of money for the full service or you will be frustrated with the so-called “unlimited service.”
Below are two companies I have used and trust that I would continually rent internet again from.
Walk and Talk are one of the few companies where you can rent a 4GB junction box that does not throttle or slow down and can connect up to 100 people. Average price is $75/per week and they will even ship out to you if you are outside Los Angeles.
wifirents is great for productions that don’t need fast internet and need a temporary internet solution while on the road. This is one of the few companies that charges by the day so you can keep the cost down.