LINE PRODUCER

The Line Producer is the person who takes responsibility for the way the budget gets spent during pre production, production and post production periods of the film.

'Line Producers' derive their title because they cannot start work until they know what the 'line' is between the 'above-the-line' costs, which relate to writers, producers, directors and cast, and the 'below-the-line' costs which include everything else, e.g., crew salaries, equipment rentals, development costs, locations, set design and construction, insurance, etc.

• Line producers are generally employed just before pre-production and complete their work at the answer print stage.
• The Line Producer is the producer who is in charge of the physical logistics (film stock, lab, camera, crew, etc) during the shoot.
• The Line Producer is one of the first people to be employed on a film's production by the Producer and Executive Producers.
• Line Producers are rarely involved in the development of the project, but often play a crucial role in costing the production in order to provide investors with the confidence to invest in the project.
• As soon as the finance has been raised, the Line Producer supervises the preparation of the film's budget, and the day-to-day planning and running of the production.
• Line Producers are usually employed on a freelance basis. They must expect to work long hours, though the role can be very rewarding creatively & financially.
• Career advancement is based on experience and reputation.
• Where a Line Producer has a creative input to the production, he or she is often credited as a Co-producer.

Responsibilities

• The Line Producer is in charge of all the business aspects of the physical production of films.
• They are called Line Producers because they cannot start work until they know what the 'line' is between the 'above-the-line' costs, which relate to writers, producers, directors and cast, and the 'below-the-line' costs which include everything else, e.g., crew salaries, equipment rentals, development costs, locations, set design and construction, insurance, etc.
• Line Producers are usually recruited onto the production team during the later stages of development.
• They are given the script and asked to assess the likely 'below the line' cost of the production which involves breaking down the screenplay into a schedule - a timetable for the film shoot that shows how long it will take to shoot each scene.
• From this schedule the Line Producer can accurately estimate the cost of each day's shooting, and produce a provisional budget estimating the total amount of funding required. Once the Producer and Executive Producers have raised and confirmed the required finance, the film can go into pre-production.

PRE-PRODUCTION

• During pre-production, Line Producers work closely with the Director, Production Manager, First Assistant Director, Art Director and other Heads of Department to prepare the production schedule and budget, and to set the shoot date.
• Line Producers oversee all other pre-production activities, including hiring the production team, setting up the production office, location scouting, ensuring compliance with regulations and codes of practice, sourcing equipment and suppliers, selecting crew, engaging supporting artistes and contributors, and monitoring the progress of the art department and other production departments

PRODUCTION

• During production, Line Producers hand over control of the final budget to the Production Accountant, and delegate the day-to-day operation of the production office to the Production Manager and Production Co-ordinator.
• Line Producers are ultimately responsible for overseeing all activities, and for ensuring that the production is completed on time and within budget.
• This requires setting up and implementing financial monitoring systems, controlling production expenditure, controlling production materials, and monitoring and controlling the progress of productions.
• Line Producers usually allow a 10% contingency in the budget to cater for unforeseen circumstances, and spend much of their time juggling figures and resources.
• Line Producers are responsible for certain Health and Safety procedures, legal agreements and for sorting out any insurance claims. At the end of the shoot, the Line Producer oversees the 'wrap', or winding down, of the production.

SKILLS

Line Producers require:

• An in-depth knowledge of scheduling and budgeting, and of all the physical and technical processes of filmmaking including the post-production process.
• Excellent industry contacts
• That they command the respect of the production crew.
• Exceptional communication skills, as well as the diplomacy to balance the creative expectations of the director, artists and creative personnel with the financial resources available.
• To plan for the worst, whilst simultaneously being able to inspire others to excel in their work.

Unlike Producers, Line Producers are not responsible under Health & Safety legislation for setting up health and safety procedures; however, they are required to carry out risk assessments according to regulatory requirements. They must therefore know how to identify the hazards in the production environment, to assess the level of risk, to recommend action, and to carry out a review of their assessment.

QUALIFICATIONS/ EXPERIENCE

No qualifications can prepare anyone completely for this hugely demanding role.

However:

• Most good Line Producers have a great deal of hands-on industry experience playing different roles, which can only be acquired by working for a number of years in film, television and/or commercial production.
• Individuals usually progress to the role of Line Producer by working their way through a variety of roles in Assistant Direction, Location Management and/or the Production Office.
• Many start their careers as Runners or Production Assistants.
• Line Producers must also attend the required Health & Safety courses

We asked one of South Africa’s top Line Producers what she considers to be the most important considerations and guiding principles of a Line Producer. Her Personal Philosophy and Code of Ethics:

• Be the Change you Seek in the World: Lead by Example, don’t expect your crew to live or do things that you will not be happy to do yourself (carried over from being a technician herself and being on the receiving end of sloppy production)


• Producers in SA work on a Gentlemen's Agreement with the crew, they respect it and do not promise what they cannot deliver


• Production is there to serve the project, assist the crew, location owners, equipment suppliers etc, etc. wherever and as much as they can


• Pay what is due, only hold back the funds under dispute


• A production’s successful financial reporting, budget management etc. start with the level of efficiency by which all the departments feed through their information (budgets, analysis sheets and PO’s) to the UPM, Line Producer and Production Accountant. (a carry-over from not getting what she needed as a production accountant)


• To start a production from developing stage is the ultimate as Line Producer, you can present your producers not only with the requirement of the script finally shaped by the budget, but you can present the feel and the taste of the film and that level of involvement and continuity is vitally important.


• Crewing a film is very much like casting the film. She is not a great believer in a favorite crew or permanent crew. It does have its advantages, but unfortunately Line Producers are not privileged enough in this country to work with one director, or become part of a Director’s team.


• Each Director has his/her own personality and looks for different attributes in each person they work with. They want to be energized, inspired and supported by the people around them. This is a definite strength she has, reading her director and the specific film requirements and then casting and crewing the infrastructure and support around what the Director needs.


• As a Line Producer one of the biggest mistakes is to fall into the too-detailed production trap.


• A Line Producer’s responsibilities are overseeing physical production, working creatively with their budget, taking care of legal, casting with their director and reporting financials etc. to producers, getting the post deal in place, the Bond and insuring the overall completion of the film.


• Take full responsibility as the buck stops here.


• Listen to both sides, judge fairly and keep to your word.


• In order to make quick, informed decisions, you need to be fully aware of the movement and financial state of each department. You need to be so aware of the budget and costs to date that at anytime one knows where and when one can spend money in each of the account categories


• Do analysis, break costs down, keep an eye on the schedule and one should not rely on the AD to tell you what scenes you still need to shoot or pick up


• Keep an eye on your film stock, you do not want to be told by your camera department to order stock and then you’re left with it after shoot, know your shooting ratios, give them breathing space and only step in when you need to.


• A budget total is like a huge jug of juice and her job is to determine just whose glass, where, needs to be filled, topped up our even a bit poured out. It is one big pot of joy to use wisely and to get the most out of. It is a bit like the Widow’s Oil jar, except unfortunately sometimes it does run dry.


• The challenge is to use what you’ve been given to satisfy the director and script’s requirements as much as the budget allows, and if there is a savings at the end of production to use for post. That’s a bonus, as long as you can say that the director got everything he wanted. There are few things more embarrassing than when you told your director and producer you do not have money for an additional helicopter day, and then in the end you have enough money left for 3days!


• Stay up to date with the latest camera, lighting and grips equipment


• Stay up to date with post, the processes and being able to offer the most cost effective and highest quality options


• Always have a fully planned and executable plan A, B & C.


• Don’t become so involved with the detail that you forget the bigger picture


• And lastly, but of greatest importance: NEVER FORGET THE BIG PICTURE AND WHATEVER ELSE YOU DO – DON’T FORGET TO HAVE FUN!

UNIT PRODUCTION MANAGER (UPM)

The Unit Production Manager, sometimes called the Production Manager, is the businessperson of the company in terms of ground implementation.

• The UPM hires the crew, leases the equipment, negotiates with suppliers and ensures the production adheres to the budgetary limits within which the different departments must function.
• The Production Manager also monitors the production in progress and ensures that if the production starts going over budget or over schedule, steps are taken to correct the problems before they multiply. He or she is the Producer’s right arm.
• The Production Manager runs the production on behalf of the Producer and Line Producer, by helping to determine the most efficient and economical way to schedule shoots, negotiate business deals for crews, locations and technical equipment, and make day-to-day production decisions to ensure that the production proceeds smoothly.
• Production Managers are dynamic and highly self-motivated individuals. They should be excellent communicators, prepared to work very long hours, and be able to react calmly, under immense pressure.
• The role is challenging but well paid, in most cases on a freelance basis.

RESPONSIBILITIES - DURING PRE-PRODUCTION

• Production Managers are in charge of the expenditure of the 'below-the-line' budget. In pre-production, Production Managers work closely with the Producer, Line Producer and First Assistant Director to break down the script page by page, and to prepare a provisional schedule.
• Production Managers then consult with the various Heads of Department to estimate the materials needed, and to assist in the preparation of draft budgets.
• Once the overall budget has been signed off, Production Managers assist Producers in interviewing and selecting crews and suppliers to meet production requirements. They help to negotiate rates of pay, and conditions of employment, ensuring compliance with regulations and codes of practice.
• They negotiate, approve and arrange the rental and purchase of all production materials, equipment and supplies.
• Production Managers oversee the search for locations, sign location releases, and liaise with local authorities and the Police regarding permits and other permissions. On smaller productions they may also negotiate contracts with casting agencies.

DURING PRINCIPAL PHOTOGRAPHY

• During production, Production Managers ensure that all bills are paid, that tasks are delegated properly, and that people work well together.
• During the production, the Production Manager’s responsibilities include:
• Setting up and implementing financial monitoring systems
• Controlling production expenditure
• Monitoring and controlling the progress of productions
• Overseeing production paperwork, such as releases, call sheets, and daily progress reports
• Liaising with the First Assistant Director on set, to ensure that the production schedule and departmental budgets are on target.
• Production Managers sign and authorize all purchase orders, and help the Production Accountant to prepare weekly cost reports.
• They make changes to the schedule and to the budget as required, and ensure that these changes are brought to the attention of all relevant personnel.
• Production Managers deal with any personnel problems or issues that may arise, and ensure that all Health and Safety regulations are adhered to.
• At the end of the shoot, the Production Manager 'wraps' the production.

DURING POST PRODUCTION

Effectively and efficiently wrapping the production involves, amongst other things:

• Ensuring that all final invoices for services provided are received, checked and passed for payment
• Overseeing that locations are signed off in accordance with agreements, and that all rental agreements are terminated and equipment returned on time.
• On larger productions involving more than one Production Unit, these responsibilities may be delegated to Assistant Production Managers, who are referred to as Second Unit Production Managers, or Assistant Production Managers.
• In such situations, Production Managers are likely to work permanently in the main production office.

SKILLS

This role is very business oriented, and requires a thorough knowledge of film production. Production Managers must:

• Be hard working, with superb planning, organizational and administrative skills.
• Spend a great deal of their time on the telephone, and must therefore have excellent communication and negotiation skills in order to win the confidence and respect of suppliers and production personnel.
• Be familiar with budgeting and accounting programs, film scheduling and word processing software.
• Understand the creative and business challenges faced by the Producer, Director and Heads of Department, on each specific film production.
• Must have good contacts with local equipment suppliers, and know where to recruit reliable production personnel, from Location Managers and Art Directors, to Carpenters and Production Assistants.
• Be familiar with Health & Safety legislation, and must know how to carry out risk assessments according to regulatory requirements. They must also be familiar with all insurance issues.

TYPICAL CAREER PATH

• Production Managers play a key role on any film production and to qualify for this position, they must be highly experienced in the film industry.
• The typical Career Path to Production Manager is from on-set PA to Assistant Direction (i.e., from Second or First Assistant Director to Production Manager), or through the production office (i.e., from Production PA to Assistant Production Manager or Production Co-ordinator, or Assistant Production Manager to Production Manager), or from production management in television drama or advertising.
• A degree in Film or Media Studies is not essential, although a degree in some discipline is often an advantage.
• Productions often insist that a Production Manager should have a full clean driving license.

PRODUCTION COORDINATOR

Production Coordinators are directly responsible to the Line Producer and Production Manager for scheduling and coordinating the communications and the day-to-day workings of the whole production team.

The role of the Production Coordinator differs from country to country. An American production coordinator has different responsibilities to a UK Production Coordinator. Generally speaking however, based on the UK model, a Production Coordinator:

• Co-ordinates the crew
• Maintains the purchase order log
• Makes sure paperwork is completed and filed
• Answers the telephone, and ensures that nothing is overlooked.
• Produces new versions of the script as changes are made.
• Is responsible for the day-to-day workings of the production office
• Must work very long hours, particularly in the final week before the start of principal photography and employment is usually on a freelance basis.

RESPONSIBILITIES

• Production Coordinators run the production office from the office, according to the guidelines set out by the Production Manager.
• Production Coordinators manage the production office and are left in charge of it whenever the Production Manager is on set.
• Production Coordinators typically perform the following duties during the different phases of production:

PRE PRODUCTION

• Production Coordinators are responsible for setting up the Production Office and for ordering equipment and supplies
• They co-ordinate travel, accommodation, work permits, and visas for cast and crew; and they prepare and distribute shooting schedules, crew and cast lists, scripts and script revisions.
• They assist with ordering and collecting equipment, and booking personnel, once the Production Manager has negotiated acceptable terms.
• Production Coordinators organize and process the paperwork related to insurance cover for action vehicles, rental cars, office equipment, etc.

PRODUCTION

• A Production Coordinator is responsible for preparing, updating and distributing crew lists, daily progress reports, script changes, call sheets and movement orders.
• He or she must ensure that transportation needs are communicated to the transport captain, or to unit drivers.
• They organize the use of courier and shipping companies, co-ordinate the shipment of film and tape to and from various laboratories, and make arrangements for the movement of props and costumes, and other equipment.
• As the shoot draws to an end, Production Coordinators assist the Production Manager to "wrap" the production by closing accounts with suppliers, returning surplus stock, tying up all loose ends, and ensuring that office files are stored safely, and in a suitable format, so that information can be easily accessed by other personnel when required.
• Depending on the size of the production, Production Coordinators may delegate tasks to one or more Assistant Production Coordinators, and to a number of Production Runners.

SKILLS

• This role can be stressful, particularly during the last week of pre-production.
• Production Coordinators must have strong, multi-tasking abilities, be good team players and be able to work calmly under pressure and without constant supervision.
• They need to be hardworking and efficient, and must have excellent organizational and communication skills.
• They need a very good understanding of the film making process and of the different phases of production.
• Specific production skills often required include identifying and negotiating copyright issues, and assisting with daily financial control.
• Production Coordinators must be highly computer literate, with excellent secretarial, word processing and e-mail abilities.
• They should have a good knowledge of Health & Safety regulations and may be required to help conduct an assessment of risks in the workplace.

POTENTIAL CAREER PATH

• No specific degree in Production Coordination is currently available in South Africa to our knowledge.
• A potential career path to the position of Production Coordinator on a film is generally via the position of Production Runner, Production Assistant and Assistant Production Coordinator
• TV experience complementing the skill set, advertising or experience in general office management is an advantage. Production Coordinators should also consider undertaking Health & Safety courses.
• A full clean driving license is a very valuable asset and is often required.

ASSISTANT PRODUCTION COORDINATOR

The Assistant Production Coordinator acts as a general assistant to the Production Coordinator, performing duties relating to the preparation, distribution and filing of paperwork, both within the production office and on set.

Assistant Production Coordinators are almost always self-employed, and must be prepared to work long hours, particularly during the final week of pre-production. Most larger long-form films employ one Assistant Production Coordinator; however, even larger productions may employ two or more.

RESPONSIBILITIES

Assistant Production Coordinators work under the direct supervision of a Production Coordinator.

Their duties vary according to the production phase, and the daily requirements of the production office.

Responsibilities may include:

• Setting up, maintaining and closing down the Production Office, for example, ordering furniture, equipment and supplies.
• Travel & Accommodation - helping to co-ordinate travel, accommodation, work permits, visas, medical examinations and any immunizations for principal crew and cast to conform with insurance and foreign travel requirements.
• General production duties - including typing, filing, answering the telephone, and other related office duties.
• Transportation - helping to organize the pick-up and delivery of equipment and personnel by the Unit Drivers.
• Production paperwork - assisting the Production Coordinator to prepare and distribute shooting schedules, crew and cast lists, call sheets, production reports, movement orders, scripts and script revisions.

SKILLS

• Assistant Production Coordinators must have strong multi-tasking abilities, be enthusiastic team players, and be able to work calmly under pressure.
• They need to be hardworking, efficient, and to have strong organizational and communication skills.
• They should have an understanding of the film-making process, and of the different phases of production.
• They must be highly computer literate, with excellent secretarial, typing, word processing and e-mail skills.
• They should also be aware of health and safety issues, and ensure that their actions do not constitute a risk to themselves or to others.
• Assistant Production Coordinators must also know how to manage and market themselves as freelancers.

QUALIFICATIONS & EXPERIENCE

There are currently no specific degree courses or industry unit standards in Production Coordination; however, significant industry experience is usually required.

POTENTIAL CAREER PATH

• Assistant Production Co-ordinators on film productions usually progress to this role from working as Production Runners or production assistants.
• Equivalent experience in TV, advertising or general office management may also be sufficient.
• Valuable work experience can also be gained by working on short film productions.
• A full clean driver's license is usually a key required for this role.

PRODUCTION SECRETARY

The Production Secretary

• Is responsible for over-seeing the day-to-day activities of the production office, liaising with all departments to ascertain their needs and ranking various priorities with senior personnel.
• Makes bookings and where required, processes orders
• Checks prices and makes arrangements for obtaining required resources.
• Makes sure that everyone involved knows who has to do what in order to move, deploy and store resources and ensure that the production systems work.

The Pre-Production Secretary

The Pre-Production Secretary co-ordinates the pre-production activities within the production office. Understands priorities and knows how to deal with contingencies. Makes various arrangements communicating with all relevant personnel and suppliers and liaises with the appropriate authorities.

KNOWLEDGE AND UNDERSTANDING

• What equipment and facilities are required for the production
• Factors which may delay production activities
• The importance of meeting deadlines
• How to arrange medicals and insurance
• Who should receive schedules and scripts
• Special requirements for foreign film servicing and co-productions

Regarding office activities, a Production Coordinator or Production Secretary must:

• Ensure that necessary equipment and facilities are ordered and obtained, keeping accurate records of orders
• Liaise with others about personnel and resource requirements
• Provide support to senior personnel who have responsibility for the planning and scheduling of production activities
• Identify factors and key requirements which may affect the time-tabling of activities
• Develop contingency plans to cope with factors that may cause delays
• Arrange medicals and insurance, where appropriate
• Prepare music copyright clearances
• Organize the effective distribution of schedules and scripts to relevant people
• Prepare and where necessary distribute contact lists, unit lists, cast lists, schedules, call sheets, movement orders and other production documentation

KNOWLEDGE AND UNDERSTANDING

The Production Secretary should know and understand the following regarding Management of Resources

• Why it is important to have effective resource control systems
• The nature and priority of the activities which occur in the various stages of the production process
• The quantity and types of resources required for the different stages of the production process
• How different environments and types and scales of production affect the nature and quantity of resources required
• The organizational policies and legal requirement which apply to obtaining resources
• The appropriate documentation to use when ordering resources
• Arrangements for moving and storing resources
• The appropriate documentation to use when returning resources to suppliers (return notes) when reporting a loss or damage claim.

THE FOLLOWING SKILLS ARE REQUIRED FOR THIS POSITION

• Set up appropriate systems for managing the resources for a production
• Collate and compile information about the resources required by different departments and at
different stages of the production process, including accommodating international cast, crew, resources and requirements
• Conduct discussions with departments in a manner which promotes good working relationships
• Proactively check prices from a number of alternative suppliers and obtain what is needed at the lowest price available for the quality required by the production
• Determine ongoing, what resources are needed and which suppliers to use, in line with organizational policies, legal and BBBEE obligations
• Check with the production manager whether requirements are within budget limits
• Check with all relevant parties who is responsible for moving and storing resources

THE POST PRODUCTION PROCESS INVOLVES AMONGST OTHER THINGS:

• Liaising with the various departments involved with post-production, and ensuring that their requirements are met.
• Booking couriers, obtaining equipment, arranging facilities and booking artistes.
• Keeping in close contact with everyone involved with the post-production process, referring upwards to the post-production supervisor or producer, as appropriate.
• A basic understanding of the post production process and technical terminology.

KNOWLEDGE AND UNDERSTANDING

A Production Secretary or Production Coordinator should know:

• The requirements of the post-production schedule if any aspects of post-production are being completed in South Africa
• Your own level of responsibility in respect of the post-production process
• When to refer upwards
• When and how to prioritize
• Effective methods of communicating with relevant people
• How to locate couriers, providers of equipment and facilities, and artistes
• How to check availability and price
• How to make bookings and purchases
• How to monitor suppliers
• How to co-ordinate artiste travel and accommodation when required
• How to co-ordinate the movements of film materials
• In broad terms, the post production process and technical terminology such as ADR, effects , music and sound and dubbing procedures

The Production Coordinator or Production secretary should be able to:

• Maintain an ongoing awareness of the requirements of the post-production schedule if post is being conducted in SA.
• Liaise with the relevant people to establish their requirements for the smooth running of the post-production process
• Clarify precise requirements where there is lack of detail or where ambiguity exists
• Act promptly on those requirements which fall within your ability and level of responsibility
• Ensure that all necessary materials and associated paperwork are delivered to the cutting-room or edit suite, as appropriate
• Take instructions as appropriate and refer upwards when necessary
• Maintain frequent communications between all departments involved with post-production
• Check availability and price for the required equipment, facilities or artistes
• Make bookings and purchases as required by the post-production process, ensuring that budget limitations are met
• Monitor supplies carefully to ensure that they match orders and purchases