Media project management Part (B)

Film ProductionManagement – (B)
A complete presentation to Media Project Management
Notes By : Ashish Richhariya
Course : FTNMP / BMM
Designation : Faculty at Thakur College Of Science & Commerce
Query : arichhariya30@gmail.com
Thakur College Of Science & Commerce, Mumbai

CONTENTS
Part –(B) includes
The Business of Film
Development
Preproduction
Production (Principal Photography)
Postproduction

THE BUSINESS OF FILM
 Next to the producer or executive producer, the production manager is one of the few
people on a production who stays with the project from beginning to end.
 The four distinctive phases in any production are development, preproduction,
production (principal photography), and postproduction.
 This chapter looks at the role of the Production Manager at each phase.
 Development
 The production manager is usually spared the most nerveracking and frustrating phase of
all: development.
 In this phase, the producer conceives an idea for a movie, develops it into a presentable
package and tries to raise production funds to get the project into preproduction. To put it
bluntly, film making is all about business and earning potentially vast amounts of money.
 This statement might sound harsh and cynical to a novice filmmaker, but it accur- ately
reflects the dealings and philosophy of the entertainment business.

THE DEVELOPMENT PROCESS
 The development process sounds simple, but let’s take a closer look.
 First, the producer searches for material that can be turned into a successful
(that is, financially successful) motion picture.
 Inspiration might come from an original screenplay, novel, stage play, short story,
book, periodical, real-life story, pop song, or another motion picture.
 Regardless of its source, the producer must acquire or option the rights to it before
making the movie. If an intellectual property is being optioned it means that there is
usually a certain time limit (mostly one year with the possibility of a prolongation for
another 12 months) during which time the producer must be ready to pay the full
amount of the previously agreed-upon full price.
 This does not necessarily mean the producer must get shooting, but it means he
has to purchase the property completely

BUYING THE RIGHTS
 Buying the exploitation rights to an existing screenplay can involve a considerable amount of
money. It all depends on the market value of the script, whether it is brand new or has been shopped
around for a while, and the “name value” of the screenwriter.
 In any case, the producer must consult (and pay) a lawyer to ensure that exploitation rights are
cleared and obtained. The lawyer must also make sure the story of the screenplay does not violate
other rights, such as the right to privacy.
 Even if the producer believes the screenplay must be rewritten, either by the original author or by
another writer, buying an existing screenplay is still the easiest and quickest way to obtain a
property ready for “pitching”—that is, for presenting, packaging, and trying to sell it.

 To obtain the rights, the producer must have up-front money. If the producer
does not have a development deal with a studio or a production company, he or
she personally must advance the money.
 Of course, an author may grant the producer the right, without financial
compensation, to try to sell the project and agree to get paid once the
production is secured and green-lighted. There are no hard-and-fast rules in this
regard, so whatever deals can be made, will be.
 If the screenplay will be based on an existing novel, play, short story, or book, the
producer first must obtain the rights to have the screenplay written (assuming the
property is not in the public domain).
 The time needed to negotiate adaptation rights and then to obtain a finished,
presentable screenplay, including rewrites and the like, can be considerable—
several months to a year or two. The process is similar if the producer wants to
base the film on an art- icle from a periodical.

 The rights must be cleared, and the screenwriter found, motivated, and paid. Once again, rewrites by
other authors might be required— contractual provisions for such a case must have been previously
implemented. The process is slightly different with a real-life story.
 If the story is “hot”, fierce competition will be had for the right to create a film about it. This means that
cash is necessary to secure the rights. In any case, the producer must obtain the rights from those
involved. In addition, of course, a screenwriter must be found, and the screenplay must be written.
Lawyers must be involved in negotiating any agreements.
 The rights of those who might be affected by the story must be cleared. All this can be quite an exhausting
enterprise.
 If an existing motion picture is involved, the original producers or holders of the copyright will probably
want to retain their rights for a sequel if they can. Otherwise, the author must be contacted, and the rights
purchased as described earlier.
 If you plan to make a sequel to your own movie and you retained the right to do so, the process is
somewhat easier. If you want to use the original cast, negotiations might prove to be expensive unless a
provision was made in the original contract for a sequel.
 Finally, if the movie is to be based on the plot or lyrics of a song, the producer must obtain the adaptation
rights.
 Besides the songwriter and singer, a record company might be involved. Whoever owns the copyright
must participate in the negotiations. It is easy to see why a seasoned entertainment lawyer should be at
the producer’s side at this early but essential phase of any production: exploitation rights that have
not been obtained from the very beginning—and this list must be complete, exclusive, worldwide,
and for all media—are very difficult to clear at a later stage.

 Next, to raise money for production, the producer must find a production company or studio
willing to provide financing. This is where the process of packaging begins. The producer must
create an attractive overall package.
 “Name” actors who will guarantee the film’s success must be found. The producer might also
seek a well-known director to guarantee the financiers that a professional and superior product
will be created.
 However, “name” actors and directors will only agree to be in a movie if distribution is
guaranteed, and to get a distribution contract, commitments are required from the actors and
director. It is a vicious circle.
 When dealing with “name” talent (in reality, this means dealing with their agents, managers,
personal advisers, astrologers, friends, and trustees), the producer must accept their “right” to
creative participation. In the end, it is the talent’s face and name that are remembered with the
screenplay.
 As a result, the screenplay must often go through new rounds of rewrites to accommodate the
wishes of the talent. All this takes time—and money.
 The process is successfully concluded when the producer has all the names he or she wants—
or is satisfied with—and has obtained their written consent to be part of the production.
 At this point, the package is presentable, and the producer will pitch it again to studios,
networks, financiers, and distributors.
Raise money for production

 Clearly, film is a product, and entertainment is a business. Everything and everyone
involved in the business is judged by a simple criterion:-
 Will the involvement of this thing or this person improve the product’s chances of
being sold, being seen, and turning a profit—a huge profit, if possible?
 In the entertainment industry, everything and everyone has a value. Disturbingly,
these values can go up or down dramatically within a day (contributing further to the
exhaustion occurring during the development phase).
 For example, an unknown actor becomes a sought-after star if the movie turns out to
be a surprise hit; the same is true of the unknown director, the unknown studio
executive, and the unknown writer.
 By the same token, if a star has one or more box office flops, he or she will become
undesirable, and his or her participation in a project will virtually destroy all chances
the screenplay may have had with another performer.
 This, of course, is true regarding known directors, established studio executives, and
expensive writers. Everyone must be very successful all the time—and success
always means financial success.

LET’S RETURN TO THE DEVELOPMENT PROCESS.
 After the producer has found inspiration for a film, has cleared the rights to the screenplay or other material on
which the film will be based, and has obtained commitments from actors and a director, he or she is ready to pitch
again.
 This is the point at which a production manager might sign on.
 The producer must have a budget to know the amount of money to request. Producers who cannot or do not want
to break down the screenplay or work out the budget themselves hire a PM to do this.
 Independent nonunion production being what it is, producers usually try to find a PM who will do this free, in
exchange for a guarantee that he or she will be hired as PM on the production once it has been green-lighted.
 Production managers who accept this deal should be sure to get it in writing. The agreement should spell out the
amount of money owed to the PM for work on speculation.
 Without an agreement, no producer can actually guarantee that the PM will be hired. The financier might want to
install a friend or relative in an important career position.
 The financier’s nephew, for example, would love to have the PM credit, despite having neither the qualifications nor
the desire to do the nitty- gritty work. Under such circumstances, the nephew might easily be made an associate
producer, a credit typically given out for favors.
 Assume a happy ending: the producer has all the talent desired, a final screenplay, and financial backing. A
substantial amount of money has been advanced and is on account and ready to be drawn.
 The producer might even have distribution. In other words, it’s a go! The production is now ready to move into
preproduction.

PREPRODUCTION
 Much of this PPT deals with work the PM must accomplish during preproduction.
 This includes:
 screenplay breakdown,
 shooting schedule,
 location scouting,
 budget,
 casting and unions,
 permits,
 hiring staff and crew,
 unit supervision,
 permit clearance,
 equipment rental and stock,
 lab supervision,
 payroll service,
 insurance,
 postproduction preparation, and so on.

PRODUCTION (PRINCIPAL PHOTOGRAPHY)
 Once all the preproduction tasks are complete, the film enters the production phase, during
which the film is actually shot.
 The PM is responsible for a glitch-free shoot and must handle both logistics and overall
organization.
 If editing has already begun, the PM’s responsibilities might include some postproduction work,
such as dealing with digital special effects houses, the film lab, watching dailies, and possibly
starting work on the soundtrack.
 The budget must be monitored according to the cash-flow chart; preliminary press work and
public relations must be started. Together, the PM, in the production office, and the assistant
director, on the set, are responsible for the flow of information.
 They must ensure that everyone involved with the production—staff, crew, and cast—knows
what is going on, when, and where. The PM again coordinates and supervises the cooperation
of the various units.
 The main action has shifted from the production office to the set or location. The assistant
director is responsible for the flow and continuity of activi- ties on the set.
 He or she keeps the PM informed on the status of the production and is responsible for the
observance of union regulations, including timely lunch breaks and correctly completed
paperwork. The AD alerts the PM to any difficulties that arise.

WHAT HAPPENS ON THE SET?.
 The four distinctive phases of set operations are
 blocking,
 lighting,
 final rehearsals,
 shooting.

BLOCKING
 During blocking, the director sets up the shot, determining the look of the scene and the film. This is the time for
creative decisions and work with actors.
 Cast members must repeat their actions several times until perfect composi- tions and movements are found.
Actors do not actually perform during this phase. Instead, they walk through the scenes to determine positions.
 During blocking, conversation between crew members and working actors is prohibited. If the director and talent
are permitted to work without interruption, the production will progress smoothly and quickly.
 Nothing is deadlier on a shoot than the slow pacing caused by disturbances and lack of concentration.
 Only the following personnel are required on the set for blocking:
 • Actors in the scene and being blocked;
 • Director;
 • Director of photography;
 • Special effects supervisors—if required;
 • Assistant director;
 • Script supervisor;
 • Gaffer.
 Everyone else must stay off the set and be quiet. The AD must make sure that these rules are not violated and
that the work advances at a good pace.

LIGHTING
 In this phase, the DOP, Gaffers & the grip guy with the electrical and camera crews begin to establish the
technical structure within which the scene will be shot.
 This is possible only after blocking has been completed, positions have been marked, and the DP
understands what the director wants.
 Stand-ins, usually extras, may take the actors’ places during lighting. They should have the same height as
the actors they are replacing, otherwise precise lighting cannot be accomplished.
 No one else is required on the set, with the possible exception of set dresser and prop master. Everyone else
should not disturb the work of the technical crews.
 With ever more complicated postproduction special effects work to be done, SFX personnel frequently work
on the set to make sure that principal photography incorporates all necessary aspects for a later problem-free
workflow.
 During this time, the actors are in wardrobe, hair, and makeup, getting ready for final rehearsals and the
shoot. They may go over their lines or just relax.
 The DP estimates when the set will be ready, and the AD communicates this information to wardrobe and
makeup so that the actors will be available when needed.
 The AD must know the whereabouts of the actors at all times. He or she cannot permit the talent to leave the
location, even if they are done with wardrobe and makeup.
 When the DP declares the set ready, no further changes should be made. It is highly disturbing when the DP
starts to make changes in lighting once the director and the actors are back. The AD must make certain this
does not occur.

FINAL REHEARSALS
 The extent of the final rehearsals varies from scene to scene, from
director to director, from actor to actor. These rehearsals involve all units
working on the scene.
 Actor–camera–sound relations are fine-tuned to perfection. The actors
must be completely ready to perform before final rehearsals begin.
 No further wardrobe or makeup alterations—except slight touch-ups—
are permitted.
 Members of props, wardrobe, and makeup crews must stand by to be
instantly available if needed.
 The AD must make sure that no one who might be requested on the set
is permitted to leave.
 The DP and gaffers should not be allowed to change lighting.
 The AD is responsible for ensuring that no delays occur.

SHOOTING
 Shooting commences immediately after final rehearsals, when everyone is ready and knows
exactly what to do.
 Absolute silence is mandatory once these commands are given: “Sound rolling. Camera rolling.
Slate number x. Action”.
 Crew members not directly involved should remain absolutely still to avoid making disturbing
background noises.
 The shooting stops when the director calls “Cut”.
 If additional takes are necessary, wardrobe, hair, and makeup people check on the actors, and the
props crew replaces items if necessary.
 Once the scene is completed and in the can, the director says “Print”, and the still photographer
may take pictures as long as the set is lit.
 After the first scene is completed, the next one goes through the same cycle of blocking, lighting,
rehearsal, and shooting.
 The AD already should have the next scene prepared.

 The location should be readied as much as possible, the needed actors should be
standing by, and everyone should know where the next set is and which scene to
prepare.
 When this structure is followed and a quick pace is maintained, the production will
run efficiently and smoothly.
 Otherwise, the production will sink into chaos and frustration, and is likely to go
over budget and fall behind schedule.
 Any questions of overtime should be passed on to the production office, where
the PM or the producer decides whether the extra expense is warranted.
 Neither the director nor anyone else on the set can authorize overtime; this is the
producer’s prerogative.
 At the end of each shooting day, the AD, together with the PM and possibly the
director, details the next day’s schedule and draws up the appro- priate call
sheets.

 The call sheets describe the next day’s work and indicate who will be required and when.
 The shooting schedule is drawn up during the preproduction phase, but frequently minor
changes must be made daily.
 The call sheets reflect these changes. They are distributed or exhibited where everyone can
read them.
 The AD makes sure that the actors sign off on the actors’ production time report, which is
forwarded to the Screen Actors Guild every week.
 These time reports keep track of each actor’s arrival time, time in makeup, breaks, and end of
workday. They serve as the basis for computing salaries, overtime, night-work premiums, and
fines.
 The AD also fills in the daily production report. Additional information provided by the script
supervisor helps the PM complete this form, which must be kept not only to record the progress
of the shoot, but also to document it for the insurance company.
 The PM can use the production report to determine quickly if the production is on track, if film
stock use is as initially intended, if the scenes are being shot as planned, if delays are
occurring, and if cost overruns are likely.

POST-PRODUCTION
 When principal photography is completed, the production moves into
the final stage:-
 Post-production.
 Depending on the amount of work to be organized, the production
manager might be asked to stay on.
 Often, the PM simply concludes the tasks related to the production
office—communication with the SAG, rental houses, lab, insurance,
payroll, accounting, and book-keeping— and then leaves the
production.
 Generally, the PM organizes the editing phase in advance, including
sound effects, music production, opticals, and mixing.

 The supervision of post production in the past has not been usually a full-
time task, and with traditional filmmaking still is not.
 However, with the advent of digital filmmaking and digital special effects
work it frequently nowadays turns into a production by itself.
 Careful preproduction-planning, on-the-set execution and often time-
consuming computer-guided work have created a new profession called
the SFX supervisor.
 The Unit Production Manager works closely together with this person to
make sure all necessary budgetary and deadline-requirements are met.
 Overall supervision may be handled by the production secretary, or
specific aspects may be guided by a postproduction producer or
supervisor.

THANKS!
Part – C includes
Preparing for Production
Script Breakdown
Shooting Schedule

Media project management Part (B)

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