understanding film making - production process

8/8/2019 Understanding Film Making - Production Process

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Understanding Filmmaking: Production Process

1) The idea

Making a film takes years and involves hundreds of people, but all films start with a moment of inspiration, when

someone thinks that would make a great film.

1) Sources of

inspirationInspiration is all around

us, in newspapers,

books, plays, films and

even a casual

conversation

Remakes remakes of existing films and adaptations of plays and TV/radio

productions are becoming increasingly common. Remaking something that

already exists adds a level of security to the production and makes it easier to

define the market. This can be helpful in attracting financial banking. The risk is

that audiences will not respond as strongly to an idea that they have heard before

Real life events a surprising number of films are based on real life events. True

stories can capture the imagination of modern audiences, and producers are

always on the lookout for filmable real life events. Interesting true stories can be

found in magazines, biographies, non-fiction, personal experiences or through a

chance meeting. Having an eye for a good story is a vital skill for any filmmaker

Original ideas original ideas are the most valuable commodity in the filmmaking

business. Ideas could come from a moment of inspiration, a chance conversation

with a friend, or a dream etc. Protecting the idea is crucial, and film producersoften take out errors and omissions insurance which cover them if they are sued

for libel, slander, breach of copyright and the like

Adaptationsbooks often inspire successful films, and a successful book can

generate publicity and deliver an audience for a film that will guarantee a return

on the investment

2) Producer

Wherever the ideacomes from, it is the

producer who decides

to make this great idea

into a reality

Producers are always looking for a great idea for a film, something that they

believe will attract audiences. The producer will acquire the rights to a story, an

adaptation, or in some cases an original script, or might just have a great idea.

They may identify a completed script that they think will sell.

Once they have identified an idea that they will sell, it is their job to make this

idea into a reality, first by developing the project further, and then by getting it

made and released. They do not handle the financial side of the filmmaking, butare often the creative and commercial driving force behind the whole project.

The first thing that a producer needs is someone to turn their inspirational idea

into something tangible that they can finance a treatment and a pitch. Their first

task is to attract a good writer and a good director to the project. If the script has

already been written, the producer will either work with the original writer to

improve it, or else acquire the rights and employ another writer to develop it

further. A respected writer can help attract other talented people to the project,

including a director.

3) DirectorA director can visualize a

script and make it a

reality: they know how

to take a story and put it

onto the screen

The creative film of a development of a film always involves a director sooner or

later, and often their involvement begins very early in the process. In some cases

a director may have an idea for a film, and will approach a producer to take the

project forward, although it is more common for a producer to approach a

director.

The Director will work with the Producer to develop the film into something that

can be filmed. The quality and past work of the Director will become a key selling

point for the Producer to attract financial banking later on, so it is essential that

the Producer secures a Director with a good reputation.

Directors usually have agents. They act on behalf of the Director to get the best

deal in return for their time and skills. And then they take a percentage cut.

Directors agents need something to work with though, about previous films they

have made and information about awards they have won for past work.

4) Writer

The writer defines and

The relationship between the Producer, Writer and Director is the key creative

triangle in the film business. Writers themselves will usually ha ve an idea for a

film and will have a script or treatment already written. The majority of the time


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clarifies the idea, the

plot and the characters,

and turns it into

something tangible

though, the Producer approaches the Writer and brings them on board to write

the film they want to make. Producers (and Executives at studios) have clear ideas

of what they are looking for from a writer.

5) Treatment

The writer will then

write a treatment, a one

page description of the

main story and

characters of the film

A treatment is the description of key events and people in the film. It should be

well written in a style that fits the genre of the film (for example, if the film is a

thriller, the treatment should be more exiting to read, if the film is a comedy, the

treatment should make you smile). It should give the reader of what makes the

film unique and interesting to watch.

6) PitchA pitch contains all the

information theproducer needs in order

to sell the idea to

financiers to commission

a script

One-liner this is a one sentence description of the film. Writing one liners is a

useful skill to acquire. The UK Film Council run a regular competition for

development funding based on one-liners, called 25 Words or Less.

Genre this helps other people to understand what the style and content of the

film are going to be like. American screenwriters are much more accustomed to

writing in genres than writers in the UK. UK producers and agents are always on

the lookout for good genre scripts in the country.

Market (sometimes called target audience). This answers the vital questions

for filmmakers and financiers. If the answer is too vague, it might sound too

specific and false. It needs to be a realistic description involving at least the

following categories: sex, age, race, education, religion, political affiliation, media

use habits, economic status/income, size of family, marital status, geographiclocation.

People attached this consists of a list of people attached to the project at this

stage, plus their credits. At this stage it is unlikely to run to more than the Writer,

Producer and Director. The quality of the people attached is perhaps the most

important factor in attracting financiers.

Rough budget this gives the reader an idea of what the film w ill cost to make.

Establishing a budget early on is crucial, and the Producer, Writer and Director

must all agree what the maximum budget is and work within those limitations

from the beginning.

Brief synopsis this expands a little on the one-liner, for people who want more

detail of the film.

2) Development Finance

The next step in the development in the project is to turn the rough idea into a final script ready for production.

This costs money.

1) Pitching the

projectThe producer uses the

treatment and pitch,

plus their powers of

persuasion, to get

money to develop a

script

Turning the idea into a finished script can take a long time to get right, and time

costs money. Funding is needed to support the Writer, the Producer and

sometimes the Director during this process. This money is called Development

Funding. The Producer goes to potential funders and pitches the project to

them, hoping that they will believe in the idea and invest money to develop it

further.

The producer can invest in the development themselves (or through their own

production company). If they can afford to do this, they can retain all the rights to

the resulting package themselves. This is a great benefit to the Producer and to

the project as a whole, especially when it comes to financing the production

proper. However, this production is also very high risk, because there is no


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external verification of the inspirational idea. Creative control is all very well, but

commercial money from an audience-facing, market-driven investor (including

broadcasters like the BBC) is the best endorsement that the film will sell. Deep

pockets and strong nerves are required in film development.

2) Production

CompaniesThe producer

approaches film

production companies

for development money,

but they have projects of

their own

If the Producer can persuade the production company that the film is going to

make profits, they may offer development money to develop a script. In return

for this development money, the production company asks for the right (but no

the obligation) to take the outcome of the development process (the package)

and to be involved in the making of the film. This level of involvement in the

making process can vary from full funding (the production company puts up a full

budget in return for a big percentage in future profits from the film), to part

funding (the production company puts up some of the budget for a smaller

percentage).

Because their getting involved early in the process, the production company can

usually insist on receiving a disproportionally large percentage of future profits.

Only a very small percentage of films that are developed (around 1%) are actually

made, so most production companies operate a slate of projects (a number of

films developing in parallel). That way, by negotiating favourable amount of deals

on each project, one big win will pay for lots of unmade scripts.

Companies that operate in this way usually have a Head of Development of even

a team of Development Executives to develop the projects on their slate. This is a

very competitive area of work, as there are fewer people working in development

than ever in the UK.

3) Sales, Distribution,

BroadcastThe producer can offer

the future sales and

broadcast rights to the

film in return for money

to develop the script

The Sales Company sale companies sometimes provide development money for

projects which they feel are particularly marketable. In return, the sales company

will ask for the right to sell the film to distribution companies in some or all

territories, and to take a percentage of the resulting revenue. This is good for the

Producer, as it shows their inspirational idea is so potentially profitable that a

hard-nosed commercial organisation is prepared to part with cash. The Producer

can then tell other investors that the film already has the first part of the

mechanism in place to get it in front of audiences.

The Broadcaster in return for development money, a Broadcaster will ask for

the rights to show the film on certain of their television channels. These might be

free TV channels like BBC1, subscription channels like Sky Movies, or pay-per-view

films.Investment from Broadcasters is a good sign that the idea will attract an

audience. The Producer will also be able to tell other investors that the film

already has the third part of the mechanism in place to get the film seen.

The Distribution Company Distribution Companies are vital if the film is to

reach its audience. In return for development money, the Distribution Company

will ask for the right to distribute the film to Exhibitors (cinema owners), Retailers,

Rental Companies and Broadcasters. The Distribution Company will also take a

percentage of the resulting revenue.

Securing money from a Distribution Company represents a real endorsement that

the idea is marketable and will make money for the Distributors, either in the

cinema or in alternative formats. The Producer will also be able to tell other

investors that the film already has the second part of the mechanism in place to

get in front of audiences.

4) Public InvestmentThe producer can also

apply to a public

funding body such as the

UK Film Council for a

development grant

Public Funding Bodies

The UK Film Council operates a limited Development Fund designed to foster

talent and improve the quality and variety of scripts in the UK. There are also

similar funds available at regional national level, from organisations such as Sgrin,

Scottish Screen, the Northern Ireland Film Commission and the Nine English

Regional Screen Agencies (RSAs). These are development agencies charged with

building vibrant and sustainable media sectors within the nations and regions of

the UK, and encouraging public access to film culture. There are also several other

smaller organizations offering development funds to projects within film and

other media.

Public bodies such as the UK Film Council still operate in the commercial world,


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but will only invest in films that they believe have an audience. Many public

funding schemes are tied into particular strategic goals, such as diversity or

promotion of a particular religion.

5) Private Finance

The producer can even

pitch the film to private

investors, in the hope

that they will supportthe project

The private investor

There are many private investors in the UK and internationally with the financial

resources needed to fund the development of a script. Persuading them to invest

is the difficult part. Again, this is where having a great idea becomes vital. If an

individual is prepared to invest in a film at such an early stage, they will usually

demand a lot in return. In return for putting up the development money, the

investor gets the right (but not the obligation) to take the outcome of the

development process (the package) and to be involved in the making of the film.

6) Tying down the

writer

The producer can even

pitch the film to privateinvestors, in the hope

that they will support

the project

The Development Deal - The Producer has managed to get a development deal. It

includes an agreement from the sales, distribution and broadcast companies they

met earlier, and from the Film Council, to provide money to get the film

developed. In return, they give away some rights over the project. They have to

work closely with these sources of development funding now to keep everyone

happy.

The Writers Agent - Writers have agents who represent them in their dealings

with the Directors and Producers. The agent is a salesperson, who acts on behalf

of the Writer to get the best deal for the writing (and their percentage cut).

Writers with a great idea still need to get their work to a Producer and convince

them to make their film, and pay them to develop it. Agents are the people whocan help them achieve this. Also, if a Producer is looking for a Writer to develop

their idea, they will often go to an agent and get advice on who would suit the

job. Agents are therefore very important people in the film business, and along

with Producers are the key filters of writing talent in the UK.

Writers agents need something to work with, like previous scripts that have been

filmed, or samples of their writing. Writers cant get an agent without good

quality work to show evidence of their talents. And before an agent can help a

Writer sell an inspirational idea, they need a treatment and a pitch.

3) Script Development

With develop finance secured, it is down to the writer to deliver the product that the producer and financiers want

1) SynopsisFirst, the writer

produces a synopsis, and

he and the producer

agree, or not, on the key

scenes and events in the

film

Common Understanding

The Writer and Producer are still working very closely together at this stage to

shape the script, and its crucial for the success of the project they are bothmaking the same film. This means that they must share a common

understanding of what kind of film they are making, not only in terms of genre

and target audience, but also of budget.

The Producer needs to manage this overactive imagination to make sure the

Writer creates a script that fits with the budget they think can secure to make it.

Similarly, good scriptwriters must have a good understanding of how to write to a

budget, and the most experienced with have detailed knowledge about how

much the scenes will cost to film.

2) Step outline

There are as many ways

of writing as there are

The Step Outline

The step outline contains short written descriptions of all the scenes that will

eventually make up the script, detailing the action in much more detail and


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writers, but most writers

create a step outline to

plan their script

showing where scene breaks will occur. Each step describes important plot events

and significant development to the main characters. This stage is a juggling act,

where the Writer plans the overall structure and pacing of the film. Writers will

often set out the different steps of cards, so that they can change the order of

scenes and try different structures to see what works best before writing the final

outline. A step outline for a feature is usually around 10 pages long.

3) DraftsPart of the writers fee is

conditional on delivery

of the first draft. This

can be the hardest part

of screenwriting

The First Draft

Film scripts, whether first draft or final draft, dont just contain dialogue, but also

the actions and events that will be seen on screen, and sometimes transitions

between scenes. Screenwriting is about far more than what the characters say:

writers must understand how to tell a story visually, to show events actually

taking place rather than people talking about the. Writing for the scene is a

unique and specialist discipline, quite unlike any form of writing, and the very best

writers command huge respect and huge fees in the industry. Screenwriters at

the top of their profession are in fact often brought in to rescue or ghost-write a

script that is in difficulty provided the Producer can afford them.

All the scripts that the Writer produces must be fully formatted in the standard

way that everyone in the industry expects. The terminology used, page layout,

font, even paper size have been standardised for years, and the Writer must

follow them exactly. These conventions exist to enable the script to be turned

into a film in the easiest way possible, by breaking out action, dialogue, character

names, props, and so on, scene by scene. Before the shoot, the Writers draft will

be turned into a shooting script, where these elements are expanded to allow theproduction team to schedule and set-up each scene to be shot.

Writing a first draft is complex and very challenging, and all writers have different

approached and methods. However they work, they all need to end up with the

same result a script that effectively describes what will appear on the screen. To

achieve this, the Writer will often need to work alone, sometimes for weeks or

even months, to hammer out the first draft script. This is the hardest part of the

screenwriting process, but also the most satisfying.

4) Revisions

Once the writer and

producer are happy, the

draft is sent to the

financiers, all of whomwill have their own ideas

Same as drafts ^

5) Final Draft

When everyone is happy

with the script, it is

locked off and becomes

a final draft. Then the

writer gets paid

Once the Director, the Producer and the Writer have all approved the script, it

becomes the final draft. This is the script that is taken forwards to the next stage

of the process, so for the Writer, this is the finished product. There may be

rewrites required during packaging, financing or pre-production, but these may

be done by the Director, Producer or another writer. In the majority of cases, the

Writers involvement in the project is now at an end. The Director is formally

attached to the project and will take the creative lead on it from now on.

6) Sales TreatmentThe final stage of the

script developmentprocess is the creation of

a sales treatment

The Producer (often with the help of the Director and the Writer) will write a

Sales Treatment based on the Final Draft script. A sales treatment is a synopsis

designed to sell the film to potential financiers. It is an advert for the script, and

uses more emotive language than the Writers original synopsis. It focuses on thekey selling points of the story, including intriguing characters, interesting plot

twists, and big set pieces or scenes with a particular wow fac tor.


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4) Packaging

With the script complete, the director and producer decide how they want to film it, and who they will employ to

help them.

1) What is packaging?

The producer anddirector must now

package the script into

a full commercial

preposition, ready for

financing

The Rough Budget

First, the Producer takes the sales treatment and the final draft script and comesup with a rough budget, based on the initial very rough budget. It is an estimate

of roughly how much funding they can expect to secure for the script, and where

they intend to secure for the script, and where they intend to channel it to make

the film sell. This enables them to choose suitably priced above the line talent.

2) The Cast

One common way tomake the film more

commercial is to attach

well known stars to the

script

The Stars stars are commercial assets, and are crucial in attracting funding to a

film. The bigger the star, the higher the above the line costs, as their fees can be

huge. But if the stars are right, it can make the difference between getting the

film made or not, and between the finished film going on to be a commercial

success or a failure. Some stars are known as Green Light Names (people with

sufficient clout in the industry or at the box office to secure financing for a film).

There are very few such stars in the UK.

Producers usually contact actors via their agents. Actors agents take a percentage

of their earnings and hence make sure that the work they do either pays well now

or raises their profile (to improve future earning capacity). If an actor is asked to

get involved at this stage of the process, the agent will negotiate their fee should

the film get made. This is usually made up of a lump sum, plus a percentage of the

Producers net. Percentages of future revenues (Producers net) that the Producer

gives away at this stage to lure people into the package are called talent points.

The Package - the Producers assistant collects the elements of the package for

the Producer. At the moment, they only have the final draft script, the sales

treatment and a rough budget, to which they hope to add headshots of the films

main stars.

3) The Heads of

Department (HODS)Respected, commercially

successful Heads of

Department carry

considerable clout of

knowledgeable

financiers

The Editor a top Editor can transform a film. Getting a well known named Editor

on boards early can help persuade potential financiers that the finished product

will be an enjoyable film.The Production Designer Like the DoP, the Production Designer is incredibly

important for the visual appearance of the film, since they design all the sets and

objects seen in the film and work with other departments to keep a consistent

vision for the production. If the Director manages to get a good designer on

board, potential financiers will be assured the film will look right.

The Director of Photography the Director of Photography is an extremely

important figure in the film. They, with the Production Designer, Costume,

Location, are responsible for giving the film the distinctive look that will make it a

success. They can transform a script with their pictures, and if they work well with

the Director, the images they create can define the whole film, both critically and

commercially.

The Package the Producers assistant is poised to add the credits of the lists of

the Heads of Departments to the final draft script, the sales treatment, the roughbudget and a list of attached stars. HODs will want talent points at this stage,

which means they negotiate a fee or percentage of profits in return for agreeing

to be attached. The HODs, stars, Director, Writer and Producer are collectively

known as the above the line talent.

The Line Producer before they can pitch for funding, the Producer needs to

know how much time and money the film will take to make. To do this she gets

helps from a Line Producer. The Line Producer is effectively a logistical expert,

hired by the Producer and reporting only to her. His main responsibilities are to

supervise the budget, hire the crew, approve purchase orders and make sure all

departments are doing their respective jobs within the budget, and most

importantly that the schedule is met. At this stage, his job is to help the Producer


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4)Detailed budget and

production scheduleTo turn the film into a

proper business

preposition, the

producer must know

how much it will actuallycost to make

decide how much money to raise by creating a draft schedule and a high-level

budget.

The Budget film budgets are long spreadsheet documents that itemise in huge

detail the money that the Producer intends to spend on making and finishing the

film. At this stage, there is a limit to the amount of detail in the budget, but the

Producer must have a good idea at this stage of how they will spend a financiers

money. Some things are undecided at this stage, but these are noted as

contingencies. Its not completed until the film is fully financed.

A key part of the budget is insurance costs, since all productions must be insured

against public liability, loss of shooting days, and other eventualities. The

Producer must obtain a quote at this stage from a film insurance specialist to

insure the eventual production. The insurers will look through every detail of the

production and give advice on which insurance is required. Stunk work, special

effects, exotic locations or use of animals will increase premiums, and so too will

certain casting decisions, since the health of the actors can be a risk for a

production. They will also consider other factors, such as insuring true stories in

case the real-life characters sue for libel. Film insurers are extremely powerful

people in the film business.

The Production Schedule before any money can be raised, the Producer must

decide exactly what they film will cost to make, and to do this she must work out

how long it will take to shoot and finish. The production schedule is a complex

chart that shows which people need to do what, for how long, and where, in

order to get the film made. It is difficult to plan everything at this stage, so this

document remains in draft state until funding, cast and crew have all beenfinalised.

The Package the package now comprises the final draft script, the sales

treatment, and lists of attached stars and HOD credits. With the creative side of

the proposal complete, now the financial side must be added.

5) Finance plan and

recoupment schedulePotential investors will

want to know the

producer plans to raise

the money, and how she

plans to pay them back

The Finance Plan the finance plan is the Producers plan of how to raise finance

for the film. It will list the people and organization that the Producer intends to

approach with the project. This is a very sensitive document. The Producer

doesnt want anyone to feel that theyre bottom of the list and have only been

approached for finance because everyone else has rejected the idea.

The Recoupment Schedule this is an estimate of how the film will make money.

It will list estimates of revenue from all likely sources: cinema, broadcast, DVD

and merchandise. As the package, including attached stars and crew, changes, sowill the finance plan and the recoupment schedule and getting them all to work

out properly is a juggling act.

The Package the package is almost done at this stage and the Producers

assistant is holding almost the complete package. The final draft script, the sales

treatment, the list of attached stars and HOD credits, and the budget and

production schedule are all now included. The final documents need adding and

the package will be complete.

6) The complete

packageThe producer has

packaged the film into aviable commercial

preposition, now its

time to think what

people think of it

The final elements of the package are now in place. The packaged film has a final

draft script, a sales treatment, a list of attached stars and HODs, a detailed

budget, a production schedule, a finance plan and a recoupment schedule.

The Producer must now present this package to a number of potential funders to

get money to make the film. Who they approach will depend on past experiences,

but a good producer must know who to go to for funding. It is more likely that

potential funders will want to make changes to the package, but now for at least,

the Producer is ready to negotiate with the money men.

The Producer then has to do the hardest part of the filmmaking, namely sell the

package to financiers and film studios.


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5) Financing

Filmmaking is an expensive business, and the producer must secure enough funding to make the film to the highest

standard possible

1) The MarketFinanciers can be

anywhere in the world.

To secure the

investment they need to

make the film. The

producer must travel

Attracting Investment

This is a very competitive business and the Producer is up against a huge number

of other producers, some with similar packages. This is where their contacts and

powers of persuasion become really important. The Director may also be able to

help, especially if they are well known in the industry already.

The film finance marketplace is international, and to maximise the chances of

getting the funding she needs, the Producer must travel. Different countries offer

a variety of tax-breaks to those who fund films, so the Producer needs to be

aware of these laws when deciding which countries to approach.

2) InvestmentPrivate individuals,

production companies

and public bodies all

invest in films. The

producers lawyer draws

up contracts to seal the

deals

The Investors

There are three main potential sources of investment for a film:

- Private finance there are a surprising number of private individualswilling to invest in film projects. Some are just looking for an interesting

project to spend their money on, but many are hard-nosed business

people with a good understanding of how the industry works. The money

they invest is very high risk, but the returns can be huge. Producers with

wealthy contacts able to invest in their projects will have the edge over

their competitors.- Co-productions the majority of production companies worldwide are

reluctant to act as the sole investor in a film project. Many are too small

to afford the full financing of the film, but most just dont want the risk.

Instead, they will identify a project that fits their demographic, and enterinto a partnership with the other production company, with both sharing

the costs, the risks and the profits of the production. The most common

kind of co-production is international co-production, and in return each

take exclusive rights to sell the finished film in their respective coun tries.

International co-productions have become increasingly popular in recent

years, particularly in Europe, often involving companies from five or

more different countries all coming together to realise an idea that they

believe will be commercially viable in each of their respective markets.- Public Investment in the UK there are various sources of public money

available for production funding. Organisations such as the UK Film

Council, the Regional Screen Agencies and BBFC Films are responsible for

channelling investment into film projects that have commercial or artistic

merit, or serve the public interest. Although the availability of such fundschanges yearly, there is usually money available if the Producer knows

where to look.

3) Pre-salesThe producer can also

raise money from pre-

sales selling the rights

to the film before it has

even been made

The Sales Company in return for finance, the sales company will want the right

to sell the film to distribution companies in some or all territories, and to take a

percentage of the resulting revenue. If the sales company was involved at the

development phase, they may have the right of first refusal to fund the film and

get a good percentage of revenues. The Producer will be pleased to get a sales

company involved at this stage, as it will improve the finished films chance of

being sold to distributors.

The Broadcaster in return for providing finance, a Broadcaster will ask for the

right to play the finished film on certain of their television channels (after it has


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finished in the cinemas and has had a short time in the rental market).

The Distributor in return for providing finance, the distribution company will ask

for first refusal on the right to distribute the film to cinemas, retailers, rental

companies and broadcasters. This means that, rather than getting a percentage of

revenues in the future, the distribution company has effectively bought the

finished film before its finished and will get all the revenues that result from

distribution in specified territories. They have the option to refuse this right if the

film doesnt turn out as good as theyd hope though.

If a distribution company was involved at the development phase, they may have

the right of first refusal to finance the film and will get a good percentage of

revenues. The Producer will be pleased to get a distribution company involved at

this stage, as it will improve the finished films chance of being sold to exhibitors.

4) Banks andGap Funding

There are departments

of banks that specialise

in film finance. They

could invest in

commercial projects,

and also offer loans

The Banker

There are departments of banks that specialise in film finance. They regard films

as business propositions, and have expertise in the risks of film investment and

who to invest in. Banks will back a range of films with a range of risk levels, to try

to even out returns, rather than focus in particular on funding one film.

Like any other investor, in return for their investment, the Bank will ask for a

share of future revenues generated by the film, and will charge interest. However,

they may also offer their services to help to manage the production budget and to

arrange all the necessary money transfers that making a film involves. Having a

bank involved in the production can make things a lot easier for the Producer.

Banks sometimes offer Gap Funding. This is effectively a loan to cover a shortfallbetween the money raised so far and the total budget. This can be useful for the

Producer, but interest rates are usually pretty high and the loan is paid off first

before other financiers see any money.

5) Completion Bonds

Most financiers insist

that a completion bondis in place before they

agree to invest. This is

insurance for the

production

The Insurer

Studio financed movies do not usually require completion bonds, because a

studio takes the films financial risk, but the vast majority of independent films

need completion bonds before they can go into production. Completion bonds

are guarantees that if the production runs out of money, the bond issuer (usually

an insurance company) supplies the necessary funds to complete the film.

Completion bonds are usually required by investors and banks to protect their

investment: they need to be sure they will get a finished product for their money.

The New Cinema Fund at the UK Film Council requires that any film it backs has acompletion bond in place.

Film insurance is one of the most complex parts of the film business, and

insurers have a great deal of power. The completion guarantor will impose

numerous conditions on the Producer, including restrictions on cast and crew,

and will monitor the production from start to finish to ensure it stays on schedule.

If the Producer makes a claim and the bond is invoked, the guarantor may assume

control over the production and be in a recoupment position superior to all the

other investors.

Companies like Film Finances specialise in film production insurance.

6) Green LightOne all the essential

funding and insurance is

secured, the film gets

the green light

Film packaging is very complicated, and no two films are financed in the same

way. Financiers will impose conditions on the Producer as part of the deal. They

may want to make changes to the package, bring in their own preferred cast and

crew, or even demand rewrites to the script. Sometimes investors may even

demand contradictory changes, or insist changes that alter the fundamental basis

of the film. These changes may be unacceptable to the stars or the Head of

Department, who may also have conditions of their own. They may even be

unacceptable to the Producer, and in some cases projects can change hands

entirely at the financing stage. The majority of films never get beyond this stage

and are shelved or abandoned before financing is complete.

It is the Producers job to manage these complex relationships in parallel,

negotiate the deals and bring everything together at the same time. They have to

protect the creative and commercial vision, whilst still being flexible enough to

satisfy the investors and secure the money they need for production.

Every film is developed, packaged and financed differently and there is no set


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template to follow.

6) Pre-production

With the financing secured, the full cast and crew are hired, and detailed preparation for the shoot begins.

1) The kick-offmeeting

Once all the Heads of

Department are hired,

the shooting script is

circulated and pre-

production begins in

earnest

The Casting Director the casting director will need to start to shortlist actors for

all the roles required by the script

The Editor the Editor will take on the responsibility of choosing the people that

will be required once the film movies into post production. During pre-production

the Editor will work with the Director to make sure that the transitions described

in the shooting script will work on the screen. The Head of Sound needs to be

hired too so that they can work out what complexities might arise during theshoot, and who they need to hire.

The Head of Sound during pre-production, the Head of Sound is responsible for

hiring his team of Sound Recordists and Boom Operators. They will discuss the

sound of design of the film with the Director and Producer.

The Director of Photography the DoP has a lot to plan at this stage of

filmmaking. They have to work with the Production Designer and the Director to

make sure that everyone is clear about what style of film to shoot. Also the

schedule is most affected by the DoPs camera placement and theirs and the

Directors shot and lighting choices. At this stage, the DoP and Director (taking

into account budget restraints) will decide about the shooting format i.e. which

cameras and which stock.

The Production Designer the Production Designer is a very busy person during

pre-production. They need to hire an entire team to make sure that all the sets

are designed and that the Construction Department builds them to specification,

and oversee all the props and other objects seen in the film. They also work with

the locations chosen fit with their designs or can accommodate their set

constructions.

The 1st

Assistant Director as they are responsible for keeping the film on

schedule, the 1st

AD will be present during pre-production to help the Producer,

the Line Producer and the Production Manager to plan the shoot.

The Line Producer the Line Producer is responsible for managing every person

and issue during the making of a film. Line Producers only work on one film at a

time and will work very closely with the Producer from now on.

2) CastingThe casting director,

with the director and

producer, begins the

longest process of

identifying and casting

the actors

The Casting Director identifies possible cast members partly through past

experience, but also by placing adverts in acting publications and viewing show-

reels, headshots and CVs. The Casting Director will show actors show-reels to theDirector and the Producer hoping to find a past performance that they think

would work well in this film. They will also arrange auditions (which are called

meetings if the actor is well-known). Most of the cast of the film will be required

to audition and possibly to screen-test to get their roles.

3) StoryboardingStoryboards are the

blueprints for the film,

where every shot is

planned in advance by

the director and the DOP

(direction of

The Storyboard Artist

Most films will employ a storyboard artist to dra w each key scene in the way that

it will eventually be filmed. Storyboard artists are experts at quick sketches which

give an impression of the eventual shot, including motion and camera moves.

They usually also understand story telling and filmmaking techniques and can

advise the Director and the DoP on shot choice.


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photography)

4) Production Design

The production designer

plans every aspect of

how the film will look,

and hires people to

design and build each

part

The set model models will often be made of sets to ensure that everyone knows

what the finished product should look like. They also enable the Director and the

camera team to visualize their shots more clearly and will assist the storyboarding

process.

The Production Designer the Production Designer works with the Set Designer

and the Construction Team to create artificial sets that suit the needs of the

production, based on the storyboards and set models. The Construction Manager

oversees the building of sets, and must tread the fine line between making it lookreal and keeping it cost-efficient. They manage the team of set builders, riggers

and so on, which on high-budget productions can be over 100 people.

The Art Director the Art Director and the Art Department take the designs from

the Production Designer and create every detail of the look of the film. They

decorate the sets built by the Construction Department, and are also responsible

for the objects that will be seen in the frame, such as set decorations and props.

In some cases they will make these objects themselves, but often they are

sourced and specially bought for the production and customised if necessary.

The Location Manager not all sets on films are purpose-built, and some of the

production process will take place on location. The Location Manager and their

assistants will scout for locations that fit the design of the production and work

with the Producer, Director and Production Designer to decide which ones to use.

They deal with authorities and property owners to get all the necessary permitsand secure the location. From paying landlords, to dealing with the public, to

keeping the locations clean during the short, they have a huge and varied job, and

usually have a lot of assistance on big productions.

The Construction Manager the Construction Manager oversees the building of

the film sets, based on the models, storyboards and the Set Designers schematics.

They must tread the fine line between making the sets look real on screen, and

keeping their construction cost-efficient. They manage the Construction Team of

set builders, riggers and other specialists, which on high-budget productions can

be over 100 people.

5) Special EffectsPlanning

Effects shots are

planned in much more

detail than normal shots,

and can take months to

design and build

The Special Effects a large number of shots in films are achieved using special

effects, both physical and digital. Each effects shot is modelled to ensure that it

will look realistic, and it is decided which elements of the shot will be achieved

digitally and which with live action. The physical effects are then designed far in

advance of the shoot to give the special effects teams time to prepare each one.

Effects shots are planned in much more detail than normal shots to make

absolutely certain that enough good quality footage will be obtained from each

one. If anything is missed at this stage, there may not be enough budget to

correct mistakes and the whole shot could be wasted.

Special Physical Effects models, animatronics, pyrotechnics and other

traditional techniques are used to obtain live footage which can be carefully

edited, composited and digitally enhanced in post production. The Special Effects

Supervisor and their team of technicians build everything required for the shoot,

from hydraulics to miniatures, including all the small effects like handheld gadgets

and moving set elements. The most elaborate special effects can take teams of

technicians many months to prepare, partly to get rid of the effect on camera, but

also to ensure the effect is achieved safely.The Visual Effects Supervisor the Visual Effects Supervisor is responsible to the

Director for planning and designing all the special effects needed in the film. They

have to discuss with the Director and the Production Designer what effects are

needed and decides how these can be best achieved, whether through physical

effects or digitally in post production. They must have a good understanding if

every technique available if he is to create something that works on screen within

the budget he is given. They will monitor every effects shot during the production

to make sure he is getting the footage he needs for the post production phase.

The Production Accountant the Production Accountant is responsible for

managing the films finances. Film productions are usually registered as separate

trading companies so that the complex financial structures and liabilities can be


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6)The Production Unit

The first assistant

director, the line

producer and the

production manager

make up the key logistic

triangle of the

production

managed more easily. All funding is paid into one central account, and all

production staff are employed by this company for the duration of the shoot. The

Production Accountant is responsible for the financial management of this

production company, and produces regular reports to the Producer, Line

Producer, financiers and completion bond insurers.

The ProductionManager the Production Manager is the Producers executive

officer. They deal with day-to-day money issues and are responsible for balancing

and supervising all the administrative and technical details of the production,

budgeting and scheduling, and managing the activities of the entire crew.

The Line Producer the Line Producer deals with the Producer and the financiers.

During pre-production they must:

- work out and write the schedule- arrange contract for equipment hire and personnel- insurance

There are various types of insurance but at least some will be required, depending

on the country of filming: employers liability insurance/negative insurance

(protects against additional costs due to damage or loss of stock)/props and sets

insurance (protects locations and hired props)/hired equipment insurance.

The 1st

Assistant Director the 1st

AD deals with the crew and

makes sure that they are on schedule, and to assist them in that

they will hire the rest of the staff that are needed during

production. This will include 2nd

and 3rd

Ads and Runners.

Together they will:

- work out and write the shot plans for each day (with the Director) - determine the equipment required (with the DoP and other HODs).

7) The Shoot

A large film production can involve hundreds of people, and it is a constant struggle to keep it on schedule and

budget

1) 1st Day ofPrinciple

PhotographyThis is the key moment

in film production,

shooting begins, funding

is released, and the

producer is very satisfied

The Production Office is the main contract for the production as a whole. Led

by the Production Manager, the office is responsible for all the requirements of

the shoot, fielding calls, taking deliveries, hiring equipment, distributing

paperwork, paying wages and so on. Any problems with the production that

cannot be resolved on set will be dealt with here.

The Gaffer the Gaffer sets up lighting to get the proper effect for the scene.

They must make sure that there is sufficient power available to light the scene as

the DoP wishes.

The Insurers the completion bond insurance monitor the progress of the

production at all times checking it is on schedule and that all liabilities arecovered. They receive daily progress reports but will also make periodic visits to

locations and the set to protect their interests. If they are concerned, they may

stay on set and demand meetings with production staff to resolve issues, and in

extreme circumstances can even take over the running of the production.

The Producer the Producer will usually be around on the first day of the shoot,

to check that everything runs smoothly, although the production team will have

everything under control. The Producer will oversee the production throughout

the shoot, resolve major problems, and keep the Insurers and Investors happy

until the shoot is complete.

The Camera Team the DoP and Camera Team are responsible for getting the

pictures in the can. They will usually watch a couple of rehearsals of the action to

set marks and prepare focus movements then they will let the Director know


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that they are ready for a take.

The Construction Team constructing the sets is a long and arduous process, and

can involve huge teams of people working for months before the shoot actually

begins. Once production begins, there will still be construction workers on hand

to fix minor problems and check the safety of the sets they have built.

The Production Designer the Production Designer will often be present at the

shoot to ensure that their vision of how the set/location will look is realised

properly. They will liaise with the DoP and Director to make sure their work is

shown in the best possible light.

The Stars the films stars prepare for a scene involving a shooting. The hair,

make-up and costume departments have final checks to make sure that nothing is

out of place and all is well ready for shooting.

The Property Manager (often called the Props Master) checks that the antique

table being used in the shoot is not getting damaged. Otherwise hell have to pay

a big deposit to the hire company. Although some props will be made especially

for the film, the majority are sourced and bought for the production team by a

specialist production buyer.

The Sound Team the Sound Team are responsible for recording high quality

sound during the shoot. It they fail, it can mean additional expenses for ADR

dialogue replacement in post-production.

The Unit Stills Photographer although film cameras produce very high quality

moving images, when they are frozen to make a still, they are not as clear as

photos from a stills camera. If the film is going to be well -marketed later, the unit

publicist needs high quality still photos for use in newspapers, magazines, postersand DVD covers. Failure to organize such a simple thing now might cost the film

millions in lost publicity later. The Unit Stills Photographer has to tip -toe around

the rest of the Camera Department, trying to get good skills while not getting in

the way of takes.

Electronic Press Kit (EPK) some larger productions will also hire an EPK crew to

film the production process. This footage can then be sent to TV journalists to

gain publicity for the film, and also forms the basis for the making of

documentaries that appear on TV and as DVD extras.

The Director / 1st

AD the Director is the eye of the audience, deciding which

pictures will best communicate the story. Directors work closely with all the other

department heads to provide a unified vision of how the finished project is going

to look, and most importantly, they must ensure that he gets top performances

out of the actors.

Directors have a lot of creative power over the production. A bad Director can

ruin a great script, and a great Director can save a bad one. They also determine

the mood of the set. Uncomfortable sets with disgruntled crew can produce a bad

product. The Director also works with the Actors, fine-tuning their performances

so that they fit with the unified vision of the film.

Every director has their own approach to the shoot, and although there are

standard practices, every film production is different. Some directors will shoot

each scene chronologically, but most will shoot out of sequence to save time and

money. Often, there will be the last minute decisions taken to compress or move

the schedule due to unforeseen circumstances. A lot of these decisions are

dependent on the Financiers and Completion Bond, who must put their trust in

the Director to get them the product they want for the budget available.

The 2nd

AD - the 2nd

AD warns the other Star that they are required in on hour on

set.

The 3rd

AD the 3rd

AD is briefing with the extras to prepare them for a crowd

scene thats coming up. Crowd management is a vital skill on a film set: if people

wander off they could delay the production or even injure themselves and others.

The Caterers since the early days of Hollywood, film productions have employed

caterers to feed their cast and crew. The reason for this is that people on set work

incredibly hard, sometimes for 12-15 hours without a break. This is because time

is money on set, and with so many people involved it is vital to keep them all in

the right place to eliminate delays. By feeding the cast and crew, the caterers

ensure that everyone stays on set and no-one goes wandering off, which could

delay shooting and cost the production thousands of pounds.

Health and Safety film sets can be dangerous places. Productions must take

responsibility for the welfare of their cast and crew at all times, and Health and


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Safety Supervisors have the task of making sure they are doing so. The production

will hire health and safety specialists, either part-time or full-time, to oversee

health and safety on set and on location. Studios often employ their own health

and safety people to protect their interests by making sure the productions that

use their facilities do so legally.

Health and Safety Supervisors check all aspects of the production, including

inspecting all the sets, hiring scaffolding, inspectors to run weekly checks during

construction, and even surveying buildings on location. They advise on the safest

ways of doing things to avoid the possibility of accidents, and also look after the

safety of the general public. In the event of an accident, or of someone on set

becoming unwell, a Unit Nurse is on standby to take appropriate action. In large

productions, the scale of the first aid operation may be quite extensive to support

the hundreds of people employed on and off the set.

2) CameraThe camera department

is responsible for getting

all the footage that the

director and editor need

to tell the story

The Director of Photography the Director of Photography (DoP) is the head of

the Camera Department, and is ultimately responsible for how the film is shot.

The Camera Department works from the shooting script and from the storyboards

to decide on the best camera position, movement and lens for each shot. They

work very closely with the Director to ensure that each sequence communicates

to an audience exactly what the Director intends.

The Camera Operator the Camera Operator operates the camera (although the

DoP may also operate). They are responsible for catching all the action and for

making sure that it is usable. At the end of each day, the film is processed and

dailies are returned to keep the tabs on visual quality during production.The Focus Puller the Camera Operator works with a Focus Puller. They are

purely responsible for keeping the key element in the frame in focus and for

shifting between elements in the frame. The Focus Puller has one of the most

responsible jobs on the entire set: if the camera is out of focus, the shot is

unusable and everyone else work is wasted.

The Clapper Loader the Loader takes unexposed films from its canister and

loads it into magazines. These then slot onto the camera. It is a stressful job for

the steady-handed. Any slight glimmer of light that hits the film at the wrong time

can ruin a reel and that can cost hours of filming. An hour of filming with a full

crew and cast can be very expensive. Often the Loader will also write and operate

the clapperboard, which gives the Editor information about which shot is which.

Camera Assistants - Larger productions, especially big-budget Hollywood films,

may have specialist Camera Assistants who are responsible for managing,

assembling and maintaining the cameras. Film cameras are complex and

sometimes temperamental things. Camera assistants constantly clean lenses,

check batteries and generally allow the DoP and the Operator to concentrate on

filming rather than worrying about the mechanics. On smaller productions, this

will be done by the Clapper Loader.

3) Lighting andSoundOnce the lighting and

sound are set up and

hair and make-up have

been checked, the shot

can begin

The Gaffer the Gaffer is usually a trained electrician responsible for lighting the

action under instructions from the DoP and the Director. Film lights are very

power-hungry and only the small ones are operable from normal mains electric

circuits. The Gaffer must not only arrange to get light where it is wanted, but

must also manage the huge potential risks of having highly-rated electricity cables

on set possibly in the rain.

The Best Boy the Best Boy is the chief assistant to the Gaffer.

The Make-Up Designer the Make-Up Designer and their department are

responsible for the make-up and hair styling required to give the actors the

necessary look on film. They are also responsible for prosthetics (any effects that

are supposed to look like part of the character such as fake limbs/fake noses/wigs

etc).

The Boom Operator the Boom Operator is responsible for holding the

microphone as close as possible to the sound without getting it in shot.

The Armourer Armourers are licensed to carry and operate weapons for use in

films. This is a specialist and highly trained job, and they must make sure not only

that no-one gets hurt by the firearms being used, but also that none of the

valuable camera and other equipment is damaged. It is illegal to have a working

gun on a film set without an armourer present, and the very best charge a

premium services due to the huge responsibilities they bear.


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4) ActingIn the midst of all this

commotion, the actors

must create an

emotional world and

draw the audience into it

The Actors, as the only members of the film personnel that will be seen by the

public, have a lot of responsibility to make the film a success. Actors need to

create a plausible world and pretend that they are not surrounded by hordes of

crew. Some Directors insist that consist that actors should have a considerable

rehearsal period before shooting. Others expect the actor to turn up and perform

cold. Either way, they need to be given time and kept away from any stresses that

arise in other departments so that it doesnt affect their performance.

5) SpecialPhysical

Effects

Every special effect is

carefully constructed

and must be filmed with

minimum risk of injuryto cast and crew

The Visual Effects Supervisor they have to ensure that the shot foes according

to the pre-production plans. It is important to make sure the shot goes according

to plan, as they only have one shot to take.

Special Effects Supervisor every special effect on set is the responsibility of the

Special Effects Supervisor and their team. This involves anything which has

moving parts onset. It is the responsibility of the Special Effects Team to ensure

that all these elements work when they are supposed to, as they are supposed to,

and with minimum risk of injury to cast and crew.

The Stunt People stunt people are paid to take risks. They will get as close as

they can to explosions without getting seriously hurt to add authenticity to the

shot. Stunt doubles are used extensively in high-budget films for any situation

where injury is a possibility. The reason for this is that if actors, particularly the

stars, are injured, the production could be delayed while they recover at a cost

of thousands of pounds. Often the insurers of the production will insist that no

risks are taken with the welfare of the main actors, and will even stipulate whatthey can and cant do, on and off set. Stunt people are not subject to the same

restrictions.

Health and Safety whenever special effects are involved, health and safety is an

obvious consideration. For health and safety reasons, any moving or interactive

element on a set is classed as a physical effect. The Visual Effects Supervisor and

Health and Safety experts will check the operation of all such elements to

guarantee the safety of cast and crew. Failure to do so, could lead to the

production being shut down.

6) Chain ofCommand

Film productions are run

with military precision, if

they fall behind

schedule, the financiers

and investors may step

in

Runners Runners jobs range from making tea, to delivering cans of film from

the set to the lab to be processed. They are responsible for doing what they are

asked to do quickly without any question. They dont simply do whatever anyone

on set asks them to do: in fact, they can get into a lot of trouble if they are away

from their post. Most runners have specific tasks or areas of responsibility.

The Assistant Directors the Assistant Directors support the Director by ensuring

that everything is running smoothly on set. Essentially they all help the Director

communicate with the cast and crew to accomplish everything that needs to be

done on schedule. Often there are four Ads: the 1st

, 2nd

, 3rd

and an AD-in-training.

On large US productions there may also be a Crowd Controller to assist with

larger scenes. Communication is a key part of their roles and is critical to the

success of their team, and ultimately the shoot. Good ADs are valuable people in

the film business, and they very best are in great demand.

The Line Producer the Line Producer is basically the representative of the

Producer on set. The Producer may not be on set much as they need to support

the Director by keeping the financial side of the film healthy, and by solving the

emergencies that always arise during a shoot. The Line Producer will deal with

every problem they can and keep the Producer informed about the state and

progress of the production.


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8) Post Production

Post production usually starts before the shoot, as soon as the first rushes (raw footage and sound) are available

1) Rough CutAs the processed

footage comes in, the

editor assembles it into

scenes and creates a

narrative sequence for

the film

The Editor editors are extremely important in the filmmaking process. They

effectively remake the film in the edit suite.

The Assistant Editor the Assistant Editor compiles the sequences of the film into

an assembly so that the Director and Editor can see if the scene is working, then

they work on a rough cut. Sound recorded on the set and other temporary

sounds, such as music and effects are added (temp sound) to give the Editor and

Director a general idea of how the film will end up looking and sounding.

This process usually takes a number of weeks and can involve input from the

Financiers and, of course, from the Producer. The Producer will work with any

attached Distribution and Sales companies at rough cut stage to turn the film into

a product that will sell. When everyone is happy that they have a marketable

product, the Editor stops altering the assembly of the sequences and they have a

fine cut which is also called a picture lock. The process of marketing the film

can then begin in earnest while post production continues.

The Rushes post production often starts during the shoot, as film is processed

daily and the Editor assembles the scenes while the Director is shooting. The

rushes from a film are taken to the lab where they are processed and turned into

a roll of negative. Lab costs for processing, at this point and throughout post

production, can be extremely high.The Negatives the negatives are usually transferred onto video tapes in a

process known as telecine. There are digitised into a non-linear computer edit

suite as digital video files.

2) Postproduction

sound

Once the picture is

locked, the sound

department works on

the audio track laying,

creating and editing

every sound

The Foley Artist Foley recording is the recording of custom sound effects during

post production in the same way that dialogue is dubbed. The term comes from

the name of its inventor. Foley artists are famed for using unusual objects to

create the sounds they need.

The Sound Editor once all the necessary sound tracks are recorded, the final

sound mix can be created. A Sound Editor arranges all the tracks as accurately as

possible to the locked picture. Rough sound levels are also set at this stage.

Automated Dialogue Recording (ADR) the dialogue recorded during the shoot

may be below the required quality. In these cases, dialogue is re-recorded overthe scenes by the original actors in a dubbing studio. This process is done in

addition to or as a substitution for Location Sound. The term ADR was originally

used to cover up the fact that dubbing had been used in the films credits.

Music the Composer works with the Director to write instrumental music (and

occasionally songs) for the film. They are responsible for realising the Directors

musical visions and working closely with the Director to ensure that the music

that is written and recorded satisfies the Directors needs for the film.

In many cases, existing songs may be used in a film. In these cases, the films

Producer or Music Supervisor may handle relations with the songwriters

publisher, recorder company or the songwriter.

The Music Supervisor works with the Director to choose, and negotiating risks to

use existing music in films, working with record companie s, composers and other

parties who are involved in the music for a film, and managing the overall musicalbudget and production for a project.

A songwriter may have already worked with the Director or Music Supervisor to

write songs (the songwriter may or may not employ another individual to write

the lyrics) to be used in a film. Original music can be a useful marketing tool when

the film is released, since a hit single from the soundtrack can provide valuable

publicity for the film itself.

Supervising Post Production the Producer keeps a close eye on the post

production process to ensure they are getting a product that they can sell to

audiences and film buyers. During post, they negotiate with potential distributors

to buy the rights to the product, so that as soon as the film is finished, they will be

ready to promote and release it. These potential buyers will have their own


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3) Digital effectsand titles

Digital effects are added

by specialist effects

compositors, and titles

and credits are added in

a compositing suite

opinions about how the film should look and the story it should tell, and there is

still a great deal of negotiation to be done. So, while the Director is concentrating

on bringing their creative vision to the screen, the Producer may have other ideas.

The Credits when the picture edit is nearing completion, the films credits will be

added by a digital compositor. There are two kinds of credits: front titles and

rear titles. The font title credits are the most prestigious and are reserved for

key above the line talent and influential financiers. They are often found at the

end of the film, but will be in a different format, normally one name on screen at

a time. A front title credit is often stipulated in the contracts of key cast and crew.

Those not fortunate to have front title credits are included in the rear titles, which

cover every credited member of the development, production and post

production teams.

Digital Effects digital effects are the fastest growing sector of the UK film

industry, and most films today contain a number of digital effects. These can be

pure CGI (Computer Generated Imagery) or compositing: inserting computer

generated images into live action footage and layering of multiple photographic

and/or CGI elements together. Specialists in this area charge a lot for their

services, but their work can transform a film. In the majority of cases budget

limitations prevent this kind of tinkering and digital effects are used only for key

scenes like set-piece action sequences.

4) Grade andcolourThe final stage of the

picture edit is to adjust

the colour and establish

the fine aesthetic of the

film

The Telecine Operator (often known as the Colourist) is the person that makes

all the shot look as though they belong visually to the same film. The DoP will

often work with the Colourist to ensure that look of the film is what was intendedby the Director. In a grade, a Colourist tweaks the colours and contrast to make

the film look smooth and uniform (or to add mood).

Picture lock will usually happen before the grade starts and once the financiers

are happy with the fine cut. It always happens before the final mix.

5) Final mixAfter picture lock, the

rough sound mix goes to

a dubbing theatre where

the sound mixer sets the

final levels

The Final Mix the output of the mixing process is called the final mix, which

means all the various tracks of sound in the film have been mixed at their

appropriate levels and synchronised with the sound. In practice though, the final

mix is a whole array of different final mixes, including the 5:1 surround sound mix

for theatrical release and DVD, international formats, alternative versions, and

stereo mixes for the broadcast master. Also a mix is done which removes the

dialogue and retains only the music and effects. This is called the M&E (music and

effects) mix will go to different territories to have different dialogue languagedubbed onto it.

The Dolby 5.1 Mix to allow the film to be shown in multiplex cinemas and on

DVD, the final mix is usually separated and mixed into six channels for a Dolby 5.1

mix (or eight channels for 7.1). This allows the Sound or Dubbing Mixer to take

advantage of surround sound and to place certain sounds in the theatre.

The Sound Mixer film is an audio visual medium and is not just about moving

pictures: sound is vital to the overall quality of the finished film. Poor sound

design can destroy the impact of even the best visual sequences, whilst

atmospheric and engaging sound can overcome the limitations of low-quality

visuals. Once picture lock is established, the Sound (or Dubbing) Mixer puts the

final touches to the films soundtrack to make sure the film is engaging and

professional as possible.

The Broadcast Mix this has just two channels (as most TVs just have 2

speakers). Also, the levels of the mix will be set to comply with broadcast

standards (and to make sure that the film is quieter than the adverts).

6) Final cutAfter the final cut the

film reaches full lock. It

is now finished and

ready for duplication but

who gets the final cut?

The Final Cut once final cut is agreed, the film is ready for duplication. The

sound mix is synchronised with the picture and attached to the edge of the

negative (synch and edge). This creates a master print from which all duplicates

are made. The number of prints required at this stage will depend on the release

strategy and the number of territories the film is to be released in. This is up to

the Producer to negotiate with the Distributors, and while all this has been going

they have been at hard work selling the film.

In some cases, cuts and alterations to films such as edits made for TV or in-flight

entertainment can sacrifice a filmmakers original intent. This is bad news for all


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those who see filmmaking as primarily a creative industry. However, filmmaking is

a big, expensive business, and this means compromise is a necessity. Without the

revenues generated by these commercial channels, film budgets would be

smaller, bringing other constraints to bear on future filmmakers.

The Producer the Producer has a lot of negotiating to do to secure the final cut

of the film. although some directors and other key people may have control of the

final cut in their contracts, in the vast majority of cases it is the Investors and any

attached Distribution and Sales companies who decide whether they have a final

cut or not. For them, and for the Producer, having final cut is a necessity to ensure

that the film they have paid for is commercially viable. If the product isnt right,

they wont see a return on their investment.

The Director the vast majority of directors do not have final cut on their films.

However, the investors counter that it is a business necessity. Films labelled with

Directors Cut give the directors an opportunity to show their full work. It also

enables them to make more money for the investors in the process.

9) Sales

While the film is still in post, the producer is out selling it. But they cant sell it directly to the public themselves; they

need a distributor

1) Selling theProduct

To help her sell the film

to distributors, the

producer secures the

services of a sales agent,

a specialist in film sales

The Rights Contract if a Film Sales company has already financed the films

development or production, they get first refusal on the rights to sell it to

distributors. Because they put the money up front, they get a better deal than

companies coming in at this stage, which means if the film is a hit they could

make millions in added profits. If they turn down these rights (because they think

they film wont sell), the Producer has a huge amount of work to do to get a Sales

Agent on board.The same situation applies for Distribution companies who funded the

production. If they turn down the distribution rights, of if they only hold the rights

in a few countries worldwide, the Producer faces months of research and hard

work to get another distribution deal. This is where their initial assessments of the

films market, and the recoupment schedule, come into play again.

The Producer the Producer now has a product that can be sold. But the process

of getting this product to the general public is complex and time-consuming and

requires a lot of specialist knowledge. This isnt something the Producer can do

alone: they need help from Film Distributors. Distr ibutors are film marketing

companies who specialise in releasing films and marketing them to the public. If

the film is ever to be seen, the Producer must now secure contracts with the

Distributors for as many territories as they can, and negotiate as good a deal as

they can in each. At this point, the most important audience for the film is thefilm industry itself.

The Sales Agent the Sales Agent is a key person in the commercial success of

any film. Sales Agents operate between the Producer and the Distributor, helping

them to assess products, estimating their value and negotiating distribution deals.

The Sales Agent must know the market inside out. They must also know the

buyers and the types of deal he can structure. Persuading a sales agent to sell the

film is the Producers first task, and with an agent on board the sales process

becomes a lot easier.

2) The TrailerTo help sell the film, a

trailer is made to show

Cutting a successful trailer is an art in itself. It must sell the key elements of the

film to the right audiences as defined at the packaging stage without giving too

much away. This trailer must showcase the value of the film to an industry


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busy film buyers the

most marketable aspects

of the film

audience, but in practice it may also be used as the cinematic trailer. It should

show the selling points of the film and whats unique in the film. It should also

leave a viewer in no doubt about what the film will be like.

At this stage, the Producer may commission the trailer to help sell the film, which

is often called a promo. As soon as a Distribution company is attached, they will

commission their own trailers and TV spots as part of their overall marketing

strategy, but this promo trailer will often form the basis.

3) Sales ToolkitThe producer and the

sales agent collect

everything they will

need to sell the film to

distributors

The Sales Pack the sales pack contains the key information and marketing

materials needed to sell the film to Distributors. It holds information about the

cast and crew, a synopsis of the finished film and information about likely target

audiences. It is similar to the package used to attract finance the production, but

contains additional materials that are specifically relevant to the films

distribution and marketing. It will include a one-sheet which contains the key

information about the film and a still on one sheet of paper. The film will be

competing with many others for distribution, so the more tools a Producer can

give the Sales Agent, the more chance it has of being sold.

The Trailer the completed trailer is a key part of the sales pack. A version is

printed on film for exhibition in screening rooms to groups of buyers. It is also

duplicated onto DVDs for the Producer to give out to buyers and other interested

or influential people. A number of DVD copies of the film are also made from the

master print to help the sales process. The Producer can use them to show

interested buyers more of the film if they liked the trailer.

The Sales Report the Sales Agent will produce a number of reports to estimatehow the film will perform in the box office. These are effectively detailed sales

estimates which involve taking the Producers recoupment schedule and doing

more detailed projections.

4) Taking thefilm to market

The market is saturated

with films, so the

producer must go to

great lengths to attract

attention for theirproduct

The Competition it is vital to have a distinguishable product because the

marketplace is very crowded. As the distance between the theatrical and DVD

release shrinks it is becoming increasingly difficult to sell films to cinemagoers

and Distributors know this. To overcome this problem and show the Distributor

that her film will sell, the Producer must try to generate buzz around it: if she

can get people in the industry talking about her film, she will jump to the head of

the queue.

There are various things that the Producers and Sales Agents try to put their

film ahead of the competition. Critical acclaim is important at this stage, as this isseen as a good indicator that the film is high quality. Audience enthusiasm is also

good, as it provides evidence that people will go and see the film if it is released.

5) ScreeningsThe market is saturated

with films, so the

producer must go to

great lengths to attract

attention for their

product

Hot Property by getting people in the industry talking about the film, the

Producer has turned it into a hot property.

The Stars distributors are always looking for whats marketable about a film,

and stars are the most marketable part of any film package. Star names virtually

guarantee awareness of a film with the public, which makes marketing it much

easier. This is why stars are always contracted from the outset to do promotional

work and why they are paid so much for their services.

6) DealsThe producer now has a

hot product , and can

negotiate good deals

with distributors around

the world

The Distribution Deal

The Producer negotiates a contract with a Distributor for the rights to distributethe film across certain territories. Territories mostly means countries, but in

some cases a territory is one or more countries with a similar language and

culture. The distributors will acquire full rights to market and sell the film in those

countries, including negotiating deals with cinemas. Once the film has been sold

to distributors, the film is no longer the responsibility of the Producer in those

territories. Now the marketing process begins in earnest.


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10) Marketing

As the finishing touches are being made to the film post, the distributors plan their strategy and begin to market it

1) The Marketing

TeamTo help sell the film to

distributors, the

producer secures the

services of a sales agent,

a specialist in film sales

The Marketing Team the Distribution Company has a team of marketing

specialists who will market the film to the public. They must identify the best

audience for the film, and find the hook the unique selling point that will make

it stand out in a crowded marketplace. They work out the value of this audience

at the box office, draw up projections of how it will perform, and set an

appropriate marketing budget for launching it.

They key to m

understanding film making - production process

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