WHAT DO FILM TRANSPORTATION COORDINATORS DO?

WHAT DO FILM TRANSPORTATION COORDINATORS DO?

Bruce Bisbey…Please follow us on our blog at: https://dumbdogproductionsllc.blogspot.com

Transportation Coordinators may work for a studio, a transportation company, but usually are independent film industry specialists hired for the run of a show. Arranging the transport of goods for multiple clients or in a materials department of a company arranging deliveries. ... Coordinators work in a fast-paced environment, which includes daily scheduling and handling multiple routes, drivers, and deliveries.

Particularly on big budget features, the transportation department is run by the Transport Coordinator who oversees the entire transportation requirements for the film. He or she employs one or more Transport Managers to manage the use of the support vehicles, as well as the trucks and vans used to transport equipment.

Transport Coordinators employ one or more Transport Managers to oversee vehicles such as mobile make-up and costume units, artist's caravans, mobile production offices, or mobile toilet units (known as honey-wagons), as well HGV lorries to move props, sets and equipment. They also appoint a Transport Captain to run the daily transportation of cast and crew during a shoot.

Transport Coordinators are responsible for managing the Transport budget. They make sure vehicles are hired at competitive prices and that all costs are within budget. Their role also involves setting up the production transport schedule, making sure all vehicles arrive at the right place at the right time. In the case of international shoots, this involves overseeing the transport of cast, crew, vehicles and equipment to very remote locations - either by air or by sea. A great deal of advance planning is needed for a big budget feature shooting in the desert in Morocco, for example.

In the case of international shipments, Transport Coordinators are responsible for making sure that vehicles and their contents have the right permits to travel across international borders. They are also responsible for the safe return to the base countries of all cast, crew, vehicles and equipment.

Usually at least a month before shooting begins, the Transportation Coordinator receives a copy of the script and studies it closely. The Director and Producer meet with you — the Transportation Coordinator — to discuss where each scene will take place, and they provide you with a schedule that details when each shot will start and stop. They also provide you with a budget for your work.

There are too many details to handle alone so you hire a crew of Drivers to assist. Each Driver must fill out the proper paperwork, be a member of the union, and pass a drug test. You ensure that all of these requirements are met, and you draw up a detailed schedule for each Driver. Next, you arrange for rental cars and trucks.

Hours before the shoot begins, you and your crew haul equipment to the location and you set up the equipment. During the shoot, you have a chance to relax and enjoy the action. Taking a nap may even be allowed, as long as you don’t sleep on the set.

When the shoot is over, you pack up the equipment and load it onto trucks for transport back to the studio or storage facility. Before you return rented equipment, you check it for damage.

The lowdown:

•       Organizing all Transport needs for major films
•           Managing the Transport budget
•           Hiring members of the Transport team
•           Managing all the large vehicles on a film production
•           Managing the transport of equipment to the shoot
•           Working with the Location team and other crew members  

To do this job, you will need to:

•         Have good transport and film industry experience
•         Have extensive driving experience
•         Have good literacy and numeracy skills
•         Have an understanding of international transport issues, permits and visas
•         Have excellent planning, budgetary and management skills
•         Have good attention to detail
•         Have a good geographical sense and understanding
•         Be resourceful
•         Be adaptable
•         Have good communication skills
•         Be a good negotiator
•         Be an excellent timekeeper
•        Have a thorough knowledge of driving laws
•         Have a good understanding of relevant health and safety laws and procedures

TRANSPORTATION DEPARTMENT

The Transport Department varies in size depending on the scale of the shoot. On big budget features, the department is run by the Transport Coordinator who oversees the entire transportation requirements for the film. He or she employs one or more Transport Managers to manage the use of the support vehicles, as well as the trucks and vans used to transport equipment. Transport Coordinators also appoint Transport Captains to take charge of the travel arrangements of cast and crew. Transport Captains ensure that people are picked up at the right place, and delivered to the set on time, by private cars, mini-buses or coaches. Smaller budget films may only employ the services of one Transport Captain, who ensures that cast and crew arrive on time.

Members of the Transport Department are likely to have extensive experience of working in the transport industry, either as HGV drivers, or as private hire drivers. They must be aware of, and abide by, existing transport legislation, and ensure that their vehicles are safe and roadworthy. Each of the Transport Department roles requires good timekeeping and communication skills.

Sources: Google, IMDB, Media Match, Pinterest, Wikipedia, Study, Inside Jobs, Creative Skill Set

GUERRILLA FILM-MAKING (what does it mean, what does it entail)

GUERRILLA FILM-MAKING (what does it mean, what does it entail)

Bruce Bisbey…please check me out at our blog: https://dumbdogproductionsllc.blogspot.com

There is always an opportunity to find a location and shooting that, off the wall, on the spot shot or guerrilla style shot. I recommend asking for permission. Getting a permit is always the best way. If you cannot afford a permit then ask, let them know straight up what you are doing. They will give you a yes or no. Offer them a credit or a thank you, let them be an extra, make a friend. If it is a no, then move on, there is always a location. Also be careful with showing signage, images and people’s faces/profiles. If you shoot a sign or image, you can graphically remove them. Or phone or email them with a simple clearance request, it can be done with little or no cost. Think out of the box, use your imagination.

Disclaimer: Before reading this it’s important to note that if you choose to shoot Guerrilla style (without permits) you are doing so at your own risk. Depending on how and where you shoot, you may be subject to fines, fees and other legal complications. Take these tips below with a grain of salt and know that should you choose to start shooting without permits, any complications that may arise are solely your own responsibility.

Guerrilla film-making refers to a form of independent film-making characterized by low budgets, skeleton crews, and simple props using whatever is available. Often scenes are shot quickly in real locations without any warning, and without obtaining filming permits.

Guerrilla film-making is usually done by independent filmmakers because they don't have the budget to get permits, rent out locations, or build expensive sets. Larger and more "mainstream" film studios tend to avoid guerrilla film-making tactics because of the risk of being sued, fined or having their reputation damaged due to negative PR exposure.

According to Yukon Film Commission Manager Mark Hill, "Guerrilla film-making is driven by passion with whatever means at hand".

The advent of digital cameras and home computer editing systems such as Final Cut Pro, Avid Media Composer and Premiere are a contributing factor to the increase in guerrilla film-making. Digital editing is a cheap and easy form of editing that allows the filmmaker to edit anywhere and at a low budget.

Many guerrilla filmmakers are now using professional quality digital cameras because of their cheap cost, and the ability to set up shots quickly.

Many films have used digital cameras in the place of film cameras such as: 28 Days Later, Miami Vice and Sin City. One recent film shot on consumer camcorders that has received major attention and awards is My Date with Drew, directed by Brian Herzlinger. The first crowdfunded Indian Kannada movie "Lucia" also was effectively shot using Canon 5D.

For anyone who isn’t familiar with the term, “guerrilla” shooting essentially means shooting your film in public with no permits and in most cases, no permission from any property owners for that matter. This may sound to some like a completely unprofessional way of shooting (and in some cases it very well can be), but there are some very notable examples of films shot entirely without permits. One of the most famous examples is the Oscar winning masterpiece “The French Connection” which was shot in New York City with a sizable crew and no location permits whatsoever. Another recent example was the film titled “Escape From Tomorrow” which was amazingly shot inside of Disney World without any permission at all. Pretty amazing for a feature film with many shooting days!

There are also countless television shows (mainly reality/lifestyle) that shoot nearly everything without permits. Even larger scale productions shoot without permits fairly regularly, although in most cases they do so for a select few scenes or shots, as was done with the film “Black Swan”. In their case, the subway scenes were all shot without permits on a Canon 7D.

Before we go into some advice on how to get away with shooting this way, let’s take a look at some of the pros and cons:

Pros

These are pretty obvious. The main benefit to shooting guerrilla style is that you can save a lot of money by avoiding permits and the corresponding insurance that you need to obtain the permit. To put it in perspective,  in LA, even if you just want to shoot a small scene with a single actor and a camera operator on the sidewalk (without blocking traffic), you’re looking at a minimum permit fee of $700 or so. On top of that, you are required to be insured which will likely cost another $600 – $800 as most film insurance companies set that range as their minimum. So right off the bat, you’re looking at paying somewhere in the range of $1500.

Should you choose to go Guerrilla though, that number quickly drops down to $0. The other big advantage to consider is the amount time that it can save you. On a tiny production, every last second counts and getting permits does take time. It can often take several days, or even weeks to successfully get your permit and during that time you need to provide the city or permitting office with the appropriate forms, information and insurance certificates. Multiply that by the amount of locations you have and you can quickly add up how much time you may spend just dealing with permitting. So all in all, the biggest advantages here are saving money and time.

Cons

Again these may be pretty obvious to some, but the allure of shooting without permits sometimes draws attention away from the realities of doing so. The biggest issue here is that you can get shut down. Getting shut down in a worst case scenario, literally means having the Police ask to see your permit, realizing you have no permission to be shooting, writing you a very large fine, confiscating your equipment and sending you on your way.

Depending on the city or state that you’re in, the rules and regulations differ, so depending on which city you’re shooting in, this may be a large concern. If you’re shooting Guerrilla, but still have union actors for instance, you now have to pay your actors for a full day of work even if you get shut down 5 minutes in. You will also need to pay your crew of course, and it’s just a downright bad situation to be in. With that said, if you’re smart about how, when and where you shoot without permits – the likelihood of this happening isn’t huge.

So on to the fun part. Now that you’ve decided to go ahead and take your chances shooting without permission, here are 8 tips for getting away with it:

#1 – Keep Your Crew as Small As Possible

Probably the most important item on this list, hence why it’s number 1. The bigger your crew, the more attention you’re going to draw. The general public loves to gather around and watch a movie getting shot. In fact for whatever reason most people seem to be fascinated by it. The more your team looks like a film crew, the larger the crowd will be that starts surrounding you.

And for any business owners, police, residents, etc. in the area that take notice of this, they are going to approach you and ask what’s going on. This is a big red flag as generally anyone that needs to be aware of shooting being done in the area will be made aware as a result of your permit, and you’re very likely to get shut down if you shoot with a big crew. Keep it as small as possible. Have only the actors, director and DP visible (I’ll touch on audio later on). Anyone else that is on your crew – PA’s, Makeup, Craft, etc. absolutely needs to be out of sight. They can hang back by the car or production van and when you need them, call to them – (On a cell phone by the way, not a radio, that’s another dead giveaway). The more you can make it look like a single guy or girl holding a camera shooting their friends, the better...

#2 – Shoot on a DSLR

Or any other inconspicuous camera. The Blackmagic Pocket Camera for instance would be a great camera for guerrilla shooting as it has an extremely stealth form factor. The point here, much like number 1, is to draw as little attention to yourself as possible...

Even a T3i or equivalent is going to look the same or larger to the average person, and people are used to seeing anyone and everyone walking around with one. The more you can blend in, the better. And the smaller your camera is, the less likely you are to get hassled. If you start walking around with a Red MX rigged up and expect not to get noticed, you’re playing a very risky game. Even on professional sets when I shoot with a DSLR, often producers question the quality of the footage. Put that out on the street where you blend in with everyone else, and the average public with think you’re just another tourist filming your friends hanging out...

#3 – Hide The Audio

Probably the biggest giveaway that you are shooting a semi-professional production is a big boom mic swinging around. A group of actors, a camera, and a couple of filmmakers hanging around could easily be disguised as friends trying out a new camera. But once there is a pro-looking boom mic being run into a recorder or mixer – there is no fooling anyone. Your best bet for audio is to get some really great wireless lav mics and have your audio recordist hide his or her gear. What many filmmakers will do is have the audio recorder in a car, or a backpack with the recordist hanging around nearby. They can easily control the recording inconspicuously without being right in the midst of all of the action...

#4 – Avoid using a Tripod

As painful as this may be for some (especially if you hate the handheld look), another big issue for guerrilla filmmakers is the tripod. In many cities where film permitting is strict, one of the things that can give you away is your tripod. Once you have sticks on the ground, the production starts to look larger and more suspicious. Ideally you want to opt for a mono-pod or very inconspicuous shoulder mount. The smaller the better.

If you absolutely need to shoot with a Tripod, than go ahead and do it, but be very careful and take extra care to ensure that you…

#5 – Choose The Right Locations

Some locations are much easier than others to shoot in. For instance, in Los Angeles, filmmakers often shoot in the downtown core without any issue, but in an area like Beverly Hills, you are much more likely to get asked for a permit. Every city is different and every area has different regulations and policies on film permitting. But if you do your research you’ll quickly be able to figure out which areas are the most “filmmaker friendly” and can choose your locations as needed. The other thing you may find as you start to look into this is that many cities have areas where you don’t need permits or where permits are free. You still need to provide insurance and go through the paperwork process to get the permit, but it didn’t cost anything to do so. If your production can make use of free permit areas like we did, it may end up being worth your while to get the insurance you need and then save on the permits. After all, if you do get shut down, your fees and extra expenses will far exceed what the insurance would have cost you. Assuming you opt to shoot in true guerrilla style though, make sure to…

#6 – Work Quickly

The longer you are on set, the longer you are being exposed to the general public. If you need time to rehearse, do makeup, get audio levels, or anything else for that matter, make sure to do this first in a different location. Even if it’s around the corner. When you’re ready to go, move to your shooting location, get what you need and get out as quickly as possible. If you’re smart about how you manage your time and avoid lingering around on “set” when you don’t need to be there, you will greatly reduce your exposure and increase your chance of success...

#7 – Don’t Forget To Plan

Going hand in hand with Working Quickly, is planning. Some locations may be very easy to shoot at during the day, but not at night. Or the reverse may be true. Some locations may be easy to shoot at during a certain point in the day, but the lighting isn’t right until later. The point is that you need to do your homework and plan as much as possible. Go out to the locations you want to shoot at with your camera and take some test shots. Scope it out and see where the least conspicuous areas are to shoot. Don’t just show up and go. By planning properly you are not only making certain that you have the right location, but you will also be able to work more efficiently by arriving on set prepared. A big part of planning also involved what to do in a situation where you do get shut down. If you’re on a location that is particularly risky, you may want to shoot on smaller media cards and run them to the car every few minutes to make sure if anything gets confiscated, at least you have some of your footage. And if all else fails –

#8 – Tell Them The Truth and Be Prepared to Move

At one point or another you are bound to get asked about your shoot. Normally, people are actually very nice about this and aren’t too concerned about permitting unless you’re in a high traffic area. Most often, people (including local police) may just want to watch or are curious as to what you’re doing. But you will have those times when you’re approached and asked for a permit and you get someone who is just in a bad mood. There are a number of responses you can give, but I recommend telling the truth, smiling and moving on...

Bottom Line

If you’re careful about it, you can get away with shooting guerrilla just about anywhere. The largest and smallest of productions have all done it, and with the right mix of preparation, minimal gear and stealth crew members, you can very well get away with shooting with no permits. If you do choose to go down this path though, it can never hurt to look for free permit areas that will allow you to have longer shoot days without the hassle or worry of shooting guerrilla style. And depending on how your production is set up, you may want to invest in some production insurance regardless, as even if you are shooting guerrilla and don’t need it for that reason, it can save you a lot of money down the road if something goes wrong in another way...

Sources: Google, IMDB, Pinterest, Wikipedia, Hollywood Reporter, The New York Times, Emanuel Levy, Film Maker, Indie Wire, Noam Kroll, How Stuff Works, Creative Live, No Film School

FILM DISTRIBUTOR AND DISTRIBUTION (Some Fundamentals, Facts and Tips)

FILM DISTRIBUTOR AND DISTRIBUTION (Some Fundamentals, Facts and Tips)

Bruce Bisbey… please follow my Film and TV blog at https://dumbdogproductionsllc.blogspot.com

A film distributor is responsible for the marketing of a film. The distribution company is usually different from the production company. Distribution deals are an important part of financing a film.

A distributor is an intermediary entity between the producer of a product and another entity in the distribution channel or supply chain, such as a retailer, a value-added re-seller (VAR) or a system integrator (SI).

The distributor may set the release date of a film and the method by which a film is to be exhibited or made available for viewing; for example, directly to the public either theatrically or for home viewing (DVD, video-on-demand, download, television programs through broadcast syndication etc.). A distributor may do this directly, if the distributor owns the theaters or film distribution networks, or through theatrical exhibitors and other sub-distributors. A limited distributor may deal only with particular products, such as DVDs or Blu-ray, or may act in a particular country or market. The primary distributor will often receive credit in the film's credits, one sheet or other marketing material.

Film distribution is the process of making a movie available for viewing by an audience. This is normally the task of a professional film distributor, who would determine the marketing strategy for the film, the media by which a film is to be exhibited or made available for viewing, and who may set the release date and other matters. The film may be exhibited directly to the public either through a movie theater or television, or personal home viewing (including VHS, video-on-demand, download, television programs through broadcast syndication etc.). For commercial projects, film distribution is usually accompanied by film promotion.

When a film is initially produced, a feature film is often shown to audiences in a movie theater. Typically, one film is the featured presentation (or feature film). Before the 1970s, there were "double features"; typically, a high quality "A picture" rented by an independent theater for a lump sum, and a "B picture" of lower quality rented for a percentage of the gross receipts. Today, the bulk of the material shown before the feature film consists of previews for upcoming movies (also known as trailers) and paid advertisements.

HISTORY

The identity of the first theater designed specifically for cinema is a matter of debate; candidates include Tally's Electric Theatre, established 1902 in Los Angeles, and Pittsburgh's Nickelodeon, established 1905. Thousands of such theaters were built or converted from existing facilities within a few years. In the United States, these theaters came to be known as nickelodeons, because admission typically cost a nickel (five cents).

Historically, all mass-marketed feature films were made to be shown in movie theaters. The development of television has allowed films to be broadcast to larger audiences, usually after the film is no longer being shown in theaters.[citation needed] In 1971 U-Matic became the first magnetic format in which movies could be enjoyed in institutions outside the theatre. Later that year, the first cartrivision videocassettes of movies became available to consumers to watch in their own homes. 

Recording technology has since enabled consumers to rent or buy copies of films on VHS or DVD (and the older formats of laserdisc, VCD and SelectaVision – see also videodisc), and Internet downloads may be available and are revenue sources for film production companies. Some films may be made specifically for non-theatrical formats, being released as a "television movie" or "direct-to-video" movie. The production values on these films are often considered to be of inferior quality compared to theatrical releases in similar genres; some films that are rejected by their own movie studios upon completion may be distributed through these markets.

The movie theater pays an average of about 50-55% of its ticket sales to the movie studio, as film rental fees. The actual percentage starts with a number higher than that, and decreases as the duration of a film's showing continues, as an incentive to theaters to keep movies in the theater longer. However, today's barrage of highly marketed movies ensures that most movies are shown in first-run theaters for less than 8 weeks. There are a few movies every year that defy this rule, often limited-release movies that start in only a few theaters and actually grow their theater count through good word-of-mouth and reviews. According to a 2000 study by ABN AMRO, about 26% of Hollywood movie studios' worldwide income came from box office ticket sales; 46% came from VHS and DVD sales to consumers; and 28% came from television (broadcast, cable, and pay-per-view).

PRE-STUDIO ERA

Prior to the decline of the Motion Picture Patents Company (Edison Trust) in 1915, there were two main forms of film distribution: State's Rights and Road Show.

Under the state's rights system, films were sold on a local, territorial basis. The local salesperson would then play the film as often as they desired in an attempt to make as much profit as possible. 

Film copyright holders would sell rights of a movie directly to the theater or franchise salesperson, typically on a foot-by-foot basis for 10 cents a foot. Absent major studios or national theater franchises, this system was generally the best way to ensure national release of a film, particularly for shorter films. However, in terms of profitability, the state's rights system wasn't the most effective way to screen feature-length films since the film's producers only made money on the initial sale of each film copy.

This method also made it possible to screen films of various genre which may be illegal in one state but legal in another.

With the road show system, the producer would enter into an agreement with each theater, with priority given to large-seating and famous theaters. Money would be made via ticket sales. A movie's showing would be limited to drive up demand and to help create a sense of prestige. Although this method helped increase film earnings for the producer, given its nature, a movie's release would only be at the regional level. Some of the first road show films were the Italian film Cabiria (1914) and the American the Birth of a Nation (1915).

STANDARD RELEASE

The standard release routine for a movie is regulated by a business model called "release windows". The release windows system was first conceived in the early 1980s, on the brink of the VHS home entertainment market, as a strategy to keep different instances of a movie from competing with each other, allowing the movie to take advantage of different markets (cinema, home video, TV, etc.) at different times.

In the standard process, a movie is first released through movie theaters (theatrical window), then, after approximately 16 and one-half weeks, it is released to VHS and VOD services (entering its video window). After an additional number of months, it is usually released to Pay TV, and approximately two years after its theatrical release date, it is made available for free-to-air TV.

SIMULTANEOUS RELEASE

A simultaneous release takes place when a movie is made available on many media (cinema, DVD, internet...) at the same time or with very little difference in timing.

Simultaneous releases offer great advantages to both consumers, who can choose the medium that most suits their needs, and production studios that only have to run one marketing campaign for all releases. The flip side, though, is that such distribution efforts are often regarded as experimental and thus do not receive substantial investment or promotion.

In the course of the years simultaneous release approaches have gained both praise, with Mark Cuban claiming movies should simultaneously be made available on all media allowing viewers to choose whether to see it at home or at the theater, and disapproval, with director M. Night Shyamalan claiming it could potentially destroy the "magic" of movie going.

Cinema owners can be affected seriously in case they have to share their opportunity window, especially at the beginning of the movie life-cycle, since, according to Disney, about 95% of all box office tickets for a film are sold within the first six weeks after initial distribution.

STRAIGHT-TO-VIDEO RELEASE

For more details on this topic, see Direct-to-video.

A straight to video (or straight-to-DVD or straight-to-Blu-ray depending on the media upon which the movie is made available) release occurs when a movie is released on home video formats (such as VHS, DVD, etc.) without being released in theaters first, thereby not taking into consideration the "theatrical window".

As a result of strong DVD sales, Direct-to-video releases also achieved higher success and have become a profitable market lately, especially for independent movie-makers and companies.

INTERNET RELEASE

Internet research is still new when it comes to the film distribution platform. The volume of downloaded movies is difficult to find but none compares to the even more problematical discovery of their origin.

TELEVISION DISTRIBUTION

Television distribution is a growing industry. On the back of the Communications Act developments, more distributors are setting up to take advantage of the expected growth in available product. Distributors range from broadcaster-owned companies through larger independent companies to smaller niche players.

Securing a distribution deal prior to production of a feature film in advance is a major plus point when raising finance: it demonstrates that there is a route to market for the film. Feature film distribution differs from television in that often the best route to distributors is by appointing a sales agent, who then handles the distribution of the film in territories and liaises with the distributors in those territories. The sales agent will attend festivals and markets and sell the film in return for a commission based on a percentage of the money earned from the deal with distributors.

Choosing the correct distributor for your product is about weighing up the financial deal that is on the table with the likelihood that the distributor can deliver on making product available to meet demand, has good industry contacts (including, if appropriate international contacts) and generally has expertise. It is always worth asking to see the distributor's catalogue of programs and "dropping in" on them at film and television markets to get a feel for the type of work that they deal with and how much of a presence they are. Remember that a smaller niche player may have just the contacts that you need for your particular programme, even if they do not have the general brand name.

COMMON PROVISIONS IN DISTRIBUTION AGREEMENTS

Often the distributor will produce a standard form contract. The main issues to consider when reviewing it are the commission to be charged, the media covered, the territories that it is to cover and the duration of the license.

COMMISSION

Distributors tend to charge a commission on revenue generated from exploitation of the product. This is usually based on "gross revenues," which is the amount actually received by the distributor from the purchaser of the film or programme. However, the distributor will also want to deduct its costs before sending you any money. It is important to check carefully the deductions that the distributor can make to ensure that these are legitimate and that the distributor is not adding in matters such as general staff overhead, which it should be covering from its commission.

Usual deductible costs would include the cost of shipping the product to broadcasters or cinemas, advertising and marketing the product and creating additional prints/tapes.

With feature films, first time producers are often shocked by the tiny percentage of revenue they actually see from distribution. The exhibitors (cinemas) will deduct almost half of the revenue off the top and then from the balance comes off the distributor's commission and costs before any of the investors in the film start to recoup their investment. Only after the investors recoup does the producer see any profit.

Ensure that the distribution agreement contains obligations on the distributor to account to you for revenue earned, deductions made etc. on a regular basis (no less than six monthly). You should also insert provisions to allow you to have an independent person audit the figures you are given if you are doubtful as to whether they are accurate.

TERRITORIES

Most distributors would rather get a worldwide license of a programme: it gives them more scope to earn revenue. However, if the distributor is only really known in their country then their ability to make you money in international territories will be limited. Therefore you should weigh up the simplicity of dealing with only one distributor against the chance of making money from these territories. The main territories are Europe, North America, Asia, South America, Africa and Middle East.

DURATION

The license term is always negotiable. It is important to strike a balance between giving the distributor enough time to exploit the rights and not tying the rights up indefinitely with someone who is not performing. A compromise can be to extend the term, but negotiate in a "get out" clause if revenue fails to reach a certain target. It is also important that the license contains explicit termination provisions if the distributor becomes insolvent or defaults on any of its obligations, such as the very important obligation to pay you.

MEDIA

To maximize revenue the distributor is likely to want the right to sell the full range of media. This will include standard TV, pay TV, interactive TV, online transmission and video/DVD. The distributor may also look for secondary rights in the programme or film, such as merchandising, soundtrack etc.

OTHER ISSUES

It is always worth questioning the distributor closely about the marketing planned for your programme or film and, if you can, enshrine this in the contract as a commitment. That way you can ensure that you and the distributor agree up-front about the direction that the marketing campaign is to take. Sometimes a distributor may look for an option to distribute any sequel to the work. For television programs in particular it often makes sense to give them this since the distributor will then have the advantage in the marketplace of being able to negotiate with a package of programs, which can get you better deals. However, always try to negotiate an additional financial benefit from the distributor in return for granting these additional tie-in rights and/or a "get out" if they have not performed against targets in the original deal.

SECONDARY RIGHTS

Making a programme or a feature film is not the end of the story regarding rights exploitation: it is possible to make decent revenue from exploiting secondary rights, such as soundtracks, merchandising and tie-ins with complementary businesses. Good examples of this in television are Bob the Builder, Teletubbies and Who Wants to be a Millionaire. In films, Harry Potter, Star Wars and any of the recent Disney/Pixar releases are great examples of the power of secondary rights. 

Deciding how best to exploit these opportunities depends on how capable you feel and how much time you have. If either of these areas score low then it is better to employ a merchandising agent to negotiate deals on your behalf.

It is important that exploitation of secondary rights fits in with the primary programme or film: it makes sense to ensure that the programme or film establishes the name in the minds of the public to give the merchandise a better chance of selling. However it is also important to ensure that the merchandising material is available to meet demand when it is high.

You should also ensure that you have the right to exploit secondary rights. For example, when you acquired permission to use a song in your film, did you also get permission to include it in a soundtrack?

Common provisions in a secondary rights agreement will include approval rights over the material (it is important that this does not risk the primary product), territorial restrictions on where products can be sold and provisions obliging any agent to account for commissions earned.

CONCLUSION

Opportunities have never been greater for generating revenue from the exploitation of film and television rights. Producers have more media than ever over which to deliver content to consumers. It is important to get distribution deals right so that exploitation generates rewards for the producer as well as the "middle men."

Sources: Google, Wikipedia, Out-Law.com, indiewire.com, entertainment.howstuffworks.com, distribution.la, IMDB, Pinterest, Quora, Stone Circle, Wall Street Journal, Variety, Slate Magazine, Los Angeles Times, J.A. Aberdeen, Tech Target

Making a Zombie Movie? Or just concerned about your neighbors or society in general????? ZOMBIES…HOW TO KILL THEM, KINDS OF ZOMBIES, TYPES OF WEAPONS, MISTAKES

Making a Zombie Movie? Or just concerned about your neighbors or society in general????? ZOMBIES…HOW TO KILL THEM, KINDS OF ZOMBIES, TYPES OF WEAPONS, MISTAKES

Bruce Bisbey follow my Film and TV blog at https://dumbdogproductionsllc.blogspot.com

To kill zombies, you need to destroy their brains. The most surefire route is simply lopping off the cranium with a chainsaw, machete, or samurai sword. Mind the follow-through, however-- anything less than 100 percent severance just isn't good enough.

Remove the head or destroy the brain to get rid of zombies. This is the most basic principle of destroying the ravaging zombie horde. It relies on the assumption that the infected zombie brain sends brain-eating messages to the zombie body. Sever this connection between zombified brain and undead body and you are left with the simply dead instead of the undead. Without the motor skills or motivation to devour brains, the zombie becomes indistinguishable from any old corpse lying around. Use whatever means you have at hand. Then consider composting the remains for your garden. Though soylent zombie is not recommended as it may spread the zombie virus. And taste terrible.

There are almost as many ways to get rid of zombies as there are varieties of zombies. But, before you begin, be sure to think of practical matters: Where will these zombie bits and pieces be flying? What kind of smell will a pit of zombies in the backyard produce? And just how will you keep chunks of the living dead from clogging up your wood chipper? Each method used to get rid of zombie pests will have its own challenges. Just remember to have fun and avoid getting bit…try to avoid any blood splatter, too, as that might be contagious dependent on zombie type.

INFECTED/FAST ZOMBIES

Many instances of Fast Zombies are not truly dead, merely humans in a rabid state, immune to pain, exhaustion, and mercy. While faster, and more hostile fighters than their slower cousins, they are ultimately more fragile. They can bleed out (major damage to the arteries of the neck, upper arms and legs can incapacitate them), and destroying the heart, lungs, spine or aorta can be instantly fatal. Still, because of their overwhelming ferocity, a glancing or mistimed blow with a melee weapon is usually the last mistake a human makes, so firearms are strongly advised.

BEING PREPARED!

Everybody has a zombie contingency plan. A unique and ingenious stratagem they've spent hours contemplating that ensures them and their loved ones will stay alive in the event of a zombie apocalypse. The only problem? You've got the exact same essential plan as everybody else: go raid the gun store, get out of the cities as fast as possible, find a sturdy base to fortify and hole up in, use a melee weapon whenever possible to conserve ammo and--if the worst does come to pass and you find yourself facing down a crowd of the undead--take your time, aim carefully and make every shot a head shot.

1 RAIDING THE GUN STORE

First things first: You need a firearm. The time for "common sense gun control" went out the window the second grandpa came back from the afterlife to make a sandwich out of your face. No matter what your political stance was before the uprising, you fucking love the Second Amendment now. You want the biggest, shiniest, loudest monstrosity possible. If there's a gun that shoots a thousand bullets a second; that's great. If there's one that shoots a thousand flaming bullets a second; even better! If there's a gun that shoots out other guns that all fire thousands of flaming bullets in mere seconds--like some sort of pyramid scheme comprised entirely of shredding death infernos--well, that would be just dandy. But even if you already have the god-king of firearms at your disposal, you're still not ready. You need to arm everybody in your group, you need spares just in case and you need ammo. In short, you need to get to the gun store.

The closest gun shop to your house is also the closest gun shop to a thousand other people's houses, and at least a few dozen of them are going to get there before you. Assuming that the place isn't clean out--probably because the shop is either locked down like a fortress, or because the owners are barricaded inside and would rather like to keep their livelihood and defensive measures, thanks--you still need to get your arsenal. See, owners of gun stores tend to like guns, and people that like guns not only generally want to keep them, but are also quite capable of using them.

Now you and a thousand other people are on the outside of a suburban fortress, hurling "pretty pleases" at a half-insane, heavily-armed, trained marksmen inside. Not only are you probably not coming away from the gun store with a shiny new weapon; you'd be lucky to get out of there without an impromptu sunroof installed in your skull.

2 GET OUT OF TOWN

A major city is the absolute worst place to be in the event of a zombie uprising. The population density alone spells trouble, so the farther you can get away from civilization, the better. At the very first sign of trouble, you need to get right the hell out of there. In fact, everybody does. And what happens when everybody in a city needs to get somewhere at the same time?

Like, say, during rush hour? That's right: deadlock. It's just that this time, there's a bit more emphasis on the "dead."

Blindly following your knee-jerk flee response has dropped you straight in the middle of Super-Rush-Hour, a hellish place where you sit futilely trapped in a confined space, surrounded by people who may or may not already be infected, but are certainly standing around looking delicious to the zombie hordes. You just wanted to get out as quickly as possible, but now look at you: Stuck in an unmoving meat-line with a thousand other morsels and the only thing your car is doing is keeping the freshness in until the ravenous human can-openers get there.

3 FORTIFY YOUR BASE

Shelter, along with food and water, is one of the three main essentials absolutely necessary to human life. Just because there's no more room in Hell for the dead, that doesn't mean you no longer need a roof keeping your head dry. So you'd better get busy either finding or building yourself no less than an impenetrable fortress, and stay there until this thing blows over, right?

Putting yourself in a siege situation only works if there's the possibility that the invading force will stop. But you're not dealing with people here. Holding out against an army of people works because people can be reasoned with, they might have to leave to get supplies, or perhaps they'll just weigh the pros and cons of the situation and leave.

"It's been two months, so uh ... you guys need anything? Coffee? Blankets? No? Nothing? Brains? Oh, OK! Brains it is."
Zombies don't get bored or impatient, they need nothing to keep them alive (because they're, you know, not) and they're not really known for their logistic prowess: No cons will be weighed here. Food is a pro. You are food. You are there. So there are only pros here. They will wait for you forever. But you will run out of supplies eventually, and every day you stay put in your nigh-invulnerable bunker is another day zombies pile up outside.

Zombies aren't a threat because they thin out gradually over time - they're a threat because they fucking multiply. Zombies beget zombies beget zombies, and they do their best begetting while scrabbling incessantly at your door for months on end because they can hear you crying inside. All "holing up" in a stationary location does is make the zombies want it more.

4 CONSERVE AMMO: USE MELEE WEAPONS WHEN POSSIBLE

The zombie apocalypse is a rough and tumble place, and most of us manage to rack up ER-worthy paper-cuts even at our current passive office jobs. In short: You're going to have open wounds, and exploding heads tends to be a bloody affair. So if all body fluids infect, blood included, then bites are the least of your worries. Consider this: For the sake of argument, let's pretend you don't spend your free time reading about zombies on the Internet and are, instead, a human being at peak physical condition. Now, go outside and find the nearest, smallest wild animal. Good? OK, now dive-tackle that son of a bitch and try to take a bite out of it.

If yes, then holy shit! You really did that? That was just a hypothetical scenario. You're crazy as hell. Don't waste your time here, man. The zombie apocalypse is the least of your worries. The Devil is probably possessing your scrotum right now; you've got bigger fish to fry.

But if you didn't manage to get a taste of that woodland critter, well, that illustrates the point nicely: Grabbing an unwilling victim with your bare hands and taking a bite isn't easy. Things want to live, and they tend to move around a lot when you attempt to eat them, just like you will when grasped by a zombie. Just avoiding bites is not the problem. However, showering an attacker with your head-juice when it is bashing in your skull with a cricket bat is quite a different matter. That's a fucking cakewalk. Bashing in a head at close range means you're going to get blood everywhere; if you had so much as a scrape, now you're a zombie. It's much better to use up a bit of your ammo supply, rather than risk taking a crimson shower in skull leavings from the infectious undead.

5 ALWAYS AIM FOR THE HEAD

Everybody knows that the only surefire way to kill a zombie is to destroy the brain, and we've already established that you want to be as far away as possible when you do that, so at some point in time you're going to be shooting zombies in the head. That's actually one of the only good things about a zombie apocalypse; head-shots are awesome! But think about that for a second:

Head-shots are impressive in movies and video games because they're the hardest of all possible shots. Taking your time and waiting for the right moment is all well and good if you're picking off roamers for a disturbing afternoon's entertainment on a leisurely Sunday picnic, but if shit goes down and you're faced with a crowd of zombies (they do tend to crowd, you see, quite rude like that) your last concern should be surefire kills, it should be getting the fuck out of there, finding a safe corner to sob in, and then finding a change of pants (in that order).

12 ZOMBIE FACTS

1. Zombies are still mobile with 75% of the body destroyed. …

2. Zombies do not eat anything other than human flesh or blood and can smell blood up to a mile away. Keep your wounds dressed and bound. …

3. It is estimated that less than 15% of the human population will remain truly alive. …

4. Being able to run faster then anyone in your party or group when be chased or overwhelmed by a horde of Zombies can be helpful. ...

5. Zombies communicate with shrill shrieks and screams to attract further hoards. Kill them quietly. …

6. Zombies can sprint as fast as humans. …

7. Zombies continue to rot causing a nauseating odor. …

8. Zombies can survive at the bottom of oceans, rivers and swimming pools. They do not drown. Though if they are in the water long enough both small and large feed will feed on the rotting flesh. …

9. Once bitten full zombification will take no longer than 3 days. Suicide will result in zombification unless you shoot yourself in the brain. …

10. A zombie can dig through six feet of earth in approximately 10 minutes. Encase them in concrete. …

11. You can disguise yourself by rubbing Zombie blood and cover yourself with Zombie guts and gore over your body. Don’t not use the blood and body parts from a Zombie kill, it will only attract them to you. ...

12. Zombies do not like being tickled. I do not advise you use this as a defense. … :-)

ANTI-ZOMBIE ARSENAL

ZOMBIE BLOOD, GUTS AND GORE AS CAMOUFLAGE

You can disguise yourself by rubbing Zombie blood and cover yourself with Zombie guts and gore over your body. Don’t not use the blood and body parts from a Zombie kill, it will only attract them to you.

GUNS.

Of course. Whenever you see a zombie movie, guns are the weapon of choice. And I use the term “guns” loosely. From a 9mm to a harpoon to a grenade launcher to a slingshot loaded with cherry bombs, guns can be a fun and effective way to get rid of zombies. Use them for target practice, set up sharp-shooting contests, or engage in zombie hunting escapades. It’s a fun outdoor activity for the whole family!

SPEAR.

Great of poking and ramming it in to their head. Aim for one of their eye sockets.

BOW AND ARROW.

Whether a compound, static or cross bow. These babies will get the job done. Just be careful not to miss and if there are a large number of them or a horde be sure to be at safe distance so you can run like hell.

CHAINSAW.

Up close and personable! Make sure the damn chainsaw works…nothing worst then fighting Zombies and it won’t start.

EXPLODING.

A solid technique, but one that requires heavy weaponry. In the chaos that will doubtlessly strike an urban center after a zombie infestation, make your way to a military storehouse or a morally dubious pawn shop and acquire a rocket launcher. Then shoot, load, and repeat.

MACHETE.

Keep your blade sharp. It is great for taking off a head or splitting it right down the center.

SHARPEN BROOM

Sharpen the point of a broom stick. Great for prodding and poking.

DECAPITATION.

To kill zombies, you need to destroy their brains. The most surefire route is simply lopping off the cranium with a chainsaw, machete, or samurai sword. Mind the follow-through, however-- anything less than 100 percent severance just isn't good enough.

BLUDGEONING.

Any blunt object--from a baseball bat to a brick--wielded with suitable force at the cranium will destroy the brain. But be quick on your feet and keep your eye on the target, slugger--when you're this close to a zombie, miss even once and you might as well just hand your brains to the zombie on a silver platter.

SHOVEL.

It’s good for digging, but more importantly, it’s good for whacking zombies. It can also be used for beheading. Y’know, removing the head and destroying the brain? Other than zombie whacking, shovels can be used for zombie poking, zombie prodding, zombie battering, and zombie dismemberment. You can find them in most garages, they fit into the back of any old pickup, and you can even use that shovel in your garden after the crash of civilization. Amazon has a fine selection, like this Ames True Temper beauty.

AX.

For those preferring a more hands-on eradication of zombies, consider the ax. Exercise those upper body muscles and get a good cardio workout with each swing and hack. Use your ax to remove the head or destroy the brain. Or simply immobilize the zombie threat by removing its limbs. Use the ax to cut down trees to create a fence for a zombie fight ring. Invite your friends. Think of the entertainment value!

WAIT FOR THE ZOMBIES TO DECAY.

This method relies heavily on the type of zombie infestation that you have. This will not work on every kind of the undead. But it may be that the type of zombie around your neighborhood doesn’t have a very long shelf-life. If your zombies are the type that cannot regenerate or repair their own tissue, then hot-dang, all you have to do is wait it out! Exposure to the elements will wreak havoc upon undead tissue. And as they begin to decay, their ability to acquire brains from human beings also decays. Soon these ferocious brain seekers will only be piles of goo, and your life can once again return to normal.

THINGS TO AVOID

FIRE.

While fire may seem to be a natural, cheap, and easy solution to your zombie infestation, I assure you that fire is most likely not the answer. You know how those zombies are, always getting into everything. Curious little creatures they are. Now, can you picture those curious little biters on fire?

NUCLEAR ARMS.

Nukes. Good for killin’ the whales. Bad for killin’ the zombies. Imagine a bunch of brain-crazy, undead cannibals’ hell bent on eating you. Now imagine that they’re radioactive to boot. You get where I’m going with this. So, unless you’re into killing whales, avoid the nukes.

MISTAKES

• Do not underestimate the effect fear may have on a survivor's capacity to fight, especially their first few encounters.
• It is usually better to avoid confrontation if possible, and instead flee undetected, especially if one isn't barricaded, or by a base. The groans of one zombie may bring many more than one can handle.
• As earlier mentioned, there is great misinformation in regards to the ease of fracturing the skull. Sometimes a sharp weapon to sever the spine at the neck is more practical.
• Some types of zombies are immune or ignorant of the sounds of gunfire. Some hone into it. Before letting off rounds indiscriminately, it's best to know which type is present.
• Do not underestimate how tiring it may be to penetrate a skull. It will rarely take only one swing, so be prepared. Be aware of your surroundings, and how much space you need to swing.

THINGS TO CONSIDER BEFORE COMMITTING TO BATTLE

• If there is a melee weapon present, are you sure you know how to hold it?
• Are you sure it is durable enough to use without breaking in your hands?
• How long can you attack with it before exhaustion kicks in? If it does, what is plan B?
• Are you sure it can break the skull?
• Can you slip away unnoticed, or incapacitate/trap the zombie?
• How sure are you that their groans won't attract nearby zombies?

USE YOUR BRAAAIIIINNNSSS DON’T LET THEM GET EATEN

Remember that getting rid of zombies isn’t a chore–it can be fun. The most important thing you can remember is to remove the head and destroy the brain. After that, you can be as creative as you want. Make a game out of it. See who of your friends and family can destroy the most zombies in a designated period of time.

As long as you avoid the big no-no’s of fire and, were you to be able to get your hands on them, nuclear arms, then the rest is up to you. Put on some music. Grab some beers or favorite pop (Coke Cola, Pepsi or a Fanta). Grab your guns (alcohol and guns never mix, unless it’s after a zombie apocalypse; in such a case, guns and alcohol are encouraged.).

Then go crazy. You’ve never had a better excuse to blow the brains out of your zombified boss, in-laws, grouchy old neighbor, and that kid that was mean to you once in the third grade. As long as you remember the basic principle of how to get rid of zombies, you’ll do just fine: remove the head or destroy the brain. Just try not to get bit in the process.

Sources: Google, Wikipedia, IMDB, Portland Mercury, Pinterest, Get Rid of Things, Erin Eliason, Zombiepedia, Fandom, Zombie Wikia, The Top Tens, Cracked, Zombies Alive, Thought Catalog, 101 Ways to Kill A Zombie, Robb Pearlman, Dave Urban, Popular Mechanics, Inc.com, Fast Company

WHAT DO PRODUCTION ACCOUNTANTS DO?

WHAT DO PRODUCTION ACCOUNTANTS DO?

Bruce Bisbey

Production Accountants are responsible for managing finances and maintaining financial records during film or TV production, working closely with the producer and the production office. Their job includes preparing schedules and budgets for film productions, and managing the day to day accounting financial reporting against the budgets.

Production Accountants usually work on a freelance basis. The experience and qualification required will depend on the size and scale of the film or TV production. Film or TV Production Accountants usually have a qualification in accounting, as well as a number of years' experience in the film industry. Film and TV Production Accountants need to gain the approval of the financiers, guarantors and studios involved in the production, so their qualifications and experience are important.

Specific tasks during production include calculating finances, costing productions, liaising with financiers, and managing cash flow. They must ensure that all legal requirements are met. In pre-production, Production Accountants assist the producers and production managers to prepare budgets. They will set up and manage accounting systems, and supervise assistant accountants and accounts trainees. Production Accountants may also deal with bank finance and completion guarantors. They will finalize all financial records relating to the production, and may also have to arrange an independent audit. Sometimes Production Accountants will work in collaboration with senior accountants, known as financial controllers, who are often permanently employed by production companies, or in collaboration with studio finance executives. Depending on how the film is financed, Production Accountants may also have to deal with bank finance and completion guarantors. They need to keep track of all the relevant paperwork to produce cost reports.

Production Accountants calculate finances, work out the cost of a production, and communicate with financiers (companies or individuals who provide the funding) and control the cash flow, or spending.

They must make sure that payments are made on time and correspond with agreements and approved budgets. They must also make sure the production meets all legal requirements and that the company is a legal trading entity.

In pre-production, Production Accountants help the Producers and Production Managers to prepare budgets and Estimated Final Cost Reports.

During production, they oversee all payments, manage payroll, petty cash and foreign currency and keep accurate financial records. They help monitor budgets, analyze spending and provide daily or weekly cost reports. They also produce cost forecasts to evaluate the impact of any production changes.

Production Accountants are responsible for the health, safety and security of the Accounts department, as well as working as part of the wider film production team. They set up and maintain accounting systems and supervise Assistant Accountants and Accounts Trainees.

Production Accountants must prepare a Statement of Account showing all income and expenditure for the Producer or Production Company and the financiers, and finalize all financial records relating to the production. They may also have to arrange an independent audit.

On larger productions, Production Accountants may work with Senior Accountants, known as Financial Controllers, who are often permanently employed by production companies.

When a Studio (a large film company that finances many films a year) is involved, either through a distribution deal or by funding the production, Production Accountants also work with Studio Finance Executives and must keep to their financial guidelines. Individual studios may have their own Film Production Accountant Manual, which Production Accountants must follow.

SOME OF THE BASICS

• Production Accountants usually work on a freelance basis. …
• Production Accountants must have a good working knowledge of filmmaking processes as well as bookkeeping and accountancy skills. …
• Managing finances and keeping records up-to-date during film productions. …
• Preparing schedules and budgets with the production team. …
• Handling everyday accounting and checking spending against the budget. …
• Have bookkeeping and accountancy skills. …
• Know about the processes in film production. …
• Be very organized. …
• Have strong communication skills. …
• Be able to prioritized and work under pressure. …
• Learn quickly and take the initiative. …
• Maintain confidentiality. …
• Be skilled in accountancy, scheduling and finance software. …
• Understand guild, tax, union and other relevant regulation. …
• Auditing standards and requirements. …
• Financial accounting and reporting. …
• Regulations. …
• Professional ethics …
• Financial risk management. …
• Strategic planning. …
• Financial operations management. …
• Tax preparation. …

GETTING THE JOB DONE

• Account setup. …
• Accounting software setup. …
• Asset administration. …
• Bookkeeping. …
• Budgeting and planning. …
• Cash flow scheduling. …
• Compliance reporting. …
• Cost reporting and auditing. …
• Insurance policy reviews and claims administration. …
• Investment oversight. …
• Payroll processing. …
• Profit participation calculations. …
• Purchasing. …
• Residual setup. …
• Tax preparation. …
• Tax representation. …
• Union reporting. …

QUALIFICATIONS

You should have a BA in Accounting and a number of years' experience in the film industry. The exact level of qualification and experience required depends on the size and scale of each production but you will have to have a proven track record.

You may start as Accounts Trainee in the Accounts team, advancing to Assistant Accountant, then eventually Film Production Accountant. If you have previous experience of working in a junior position in accounts or finance you can advance your career by participating in the Assistant Accountant Training Scheme, delivered by the Production Guild.

If you know any foreign languages this can also be an advantage.

Although working in the entertainment industry can be stressful and a bit overwhelming for some, the majority of production accountants report that it is a very fun fast-paced environment filled with excitement that cannot be found elsewhere. Along with being in high demand and offering several career opportunities for advancement, the role of production accountant provides individuals with experiences that many people can only dream of. If you decide to pursue the in-demand role of production accountant, you too can enjoy traveling to film locations, attending screenings, walking the red carpet at movie premieres, being on set with famous actors or musicians, cashing in on steep discounts for product placements, and working in a creative environment surrounded by talent.

Sources: Google, Wikipedia, IMDB, Media Match, Pinterest, Creative Skill Set, Quora, Accountant Crossing, Masters in Business, Film Production, The Call Sheet, Career Igniter, Amy Fontinelle,  Investopedia, Inside Jobs, Indeed

WHAT DOES AN ASSOCIATE PRODUCER DO?

WHAT DOES AN ASSOCIATE PRODUCER DO?

Bruce Bisbey

Film producers fill a variety of roles depending upon the type of producer. Either employed by a production company or independent, producers plan and coordinate various aspects of film production, such as selecting script, coordinating writing, directing and editing, and arranging financing. During the "discovery stage", the producer has to find and acknowledge promising material. Then, unless the film is supposed to be based on an original script, the producer has to find an appropriate screenwriter.

For various reasons, producers cannot always supervise all of the production. In this case, the main producer may appoint executive producers, line producers, or unit production managers who represent the main producer's interests. The producer has the last word on whether sounds or music have to be changed, including deciding if scenes have to be cut. They are in charge of selling the film or arranging distribution rights as well. The producer's role can vary significantly from project to project, based on the circumstances and funding. They generally are in charge of things like hiring staff, creating filming schedules, checking and approving locations, and much more.

Most positions in the film world follow a strict hierarchy and set of tasks, usually because that is how most people understand a film set to work and what the union and legal regulations will allow. An assistant director will work on scheduling and run the set, but will never tell the director of photography what to do. The director will make all the creative choices about the film, but will not do the budgeting because this would interfere with the work of the line producer. Some film jobs, however, are less determined ahead of time and are more up to the interpretation of the specific project. The question "what does an associate producer do?" comes up quite a bit, and the answer is that their specific tasks, payment, and even employer will depend on each project they are working on.

An Associate Producer position can often be an entry level one. Often referred to as the 'AP', an Associate Producer generally assists the producer in putting the TV program or film together. Duties may include writing, editing, organizing scripts, running the teleprompter in news casts, or helping the editor by making beat calls.

An Associate Producer needs good writing and editing skills, and may often be called upon to make simple editorial decisions when editing video by choosing the shots that match the copy. The Associate Producer will generally be required to rewrite wire copy, and may also be responsible for cueing up tapes, and making sure scripts are in order.

An Associate Producer may also pitch story ideas, help guide the editorial content of the program, assist with promotions, handle some bookings as well as manage the growing tape needs on the program. The role may also have the responsibility for assisting with the show's or film's webpage.

An Associate Producers job duties and responsibilities will vary from project to project. Duties may include organizing production personnel, coordinating set construction, operating a teleprompter, supervising lighting or sound plans, editing scripts, or writing news items.

GENERAL THINGS AN ASSOCIATE PRODUCER DOES

The associate producer is still one of the film jobs in the producers department, so it usually works on the overall completion of the film rather than one specific technical element.

The producer oversees the production of the film itself, approving budgets, organizing production, and everything else in this area in a high level fashion. An associate producer is not going to have this kind of power generally, and will often instead work at one level of this organ making sure certain things get done.

An associate producer may only work in the office of the production company overseeing the production and may end up doing several producer functions on several different projects at once. They may also just work on a certain part of the project, such as when shooting on one location during a narrative production or on a certain segment of a documentary film. Perhaps they oversaw the script development, post-production, distribution deals, or some other subset where the producer's department had to be there but the lead producer could not be there. They may even just serve the function of an assistant producer, providing support to the main producers in their jobs.

Whatever the determined role is, the associate producer will not be a full producer and will likely not be a participant in the production, meaning that they will not receive above the line profit sharing. If it is a union governed shoot they may or may not have to be part of the Producer's Guild, but usually an associate producer will not, and will be hired to only do tasks that other union positions do not have to do. Oftentimes, a co-producer will do the same functions of an associate producer, but they are still above an assistant producer on most sets.

FUNDING

An associate producer position is usually separated from an executive producer position, though what an associate producer does may often be similar to what an executive producer does. An executive producer often provides funding, acts as an intermediary for a distribution outlet, or simply did one great thing for the producer. An associate producer will likely do regular tasks, though the title is negotiable. For example, if one individual provides a large sum of funding they may request that they are credited as an associate producer credit so that they add this to their filmography. It is these kind of allowances that make it hard to say what an associate producer will do in a production because it is strictly determined by each situation.

Sources: Google, Wikipedia, Pinterest, IMDB, Shane Burley, Rhonda Callow, Bright Bulb, Media Match, Study, Producers Guild of America, Chegg, PayScale, Creative Skill Set