THE FILM PROFESSIONAL ON-LINE TRAINING SERIES – Part 2

TO START – TWO TRAINING TOPICS

There are a variety of skills to start with. I’ve decided to start with Managing Film Budgets (as opposed to creating a film budget). This is a vital step to any emerging producer or film accountant. It’s the natural precursor to actually licking the tip of the pencil and creating your own budget. In this series you’ll learn what a standard film budget looks like, how the columns are arranged, how to manipulate a budget as a manager, and how to control the processing. In 90% of the professional film projects you’ll work on, the budget will come to you in some kind of form – then you’ll need to massage it, have changes made to it, etc. That is you’ll need to manage it until it becomes “Locked” prior to the first day of production.

  1. Production Managing the Film Budget and Cost Reports – there are tons of experienced people who are ready to produce in some capacity, or who have the ability to Production Manage the physical production; however, many of those same people experienced in physical production of film and television haven’t any experience in managing budgets and cost reports. That’s a recipe for disaster and a short career. It’s also a very limiting factor to assistant film accountants who want to upgrade to the key film accountant. I will offer you a training solution with a minimum of inconvenience to your busy schedule. In this topic, for now, I am only doing the “Managing” series of webinars. Let’s leave the detailed budget preparation for later – also, I first need to ask permission from Movie Magic to use their software.
  2. Daily Hot Costs (Definition: a daily summary of the labor costs as compared to budget for the shooting crew as well as a way to declare other known over or under budgeted cost items; a working knowledge of cast and crew guild/union rules is required).

These vicious little monsters are the bane of every film accountant, Line Producer and UPM (Unit Production Manager). The Hot Costs have become VERY important to the studio production executives and financiers at every level. Not only is it difficult to get it done swiftly and accurately, but it’s difficult for the UPM and Line Producer to explain/defend the Hot Cost to the production executives up the line.

Essentially the Hot Cost is a daily cost report comparing the budgeted costs with actual costs for the cast, crew and background extras (and a few other things, but those other things are minor when compared to cast, crew and extras). The Hot Cost is completed every morning by the Production Accountant for the previous day’s shoot.

The Line Producer and UPM need to understand it and sign off on it before the Production Accountant sends it along to both the Production Executives and the Financial Executives (including the Bond Company if the production is an Indie).

First Level of Understanding: There are definitely two different skill sets we’re talking about here. The first level of understanding is simply to be able to read it and manage it. You’ll need a basic understanding of the SAG Rules, and an understanding of the terms “Worked Hours” and “Pay Hours”. You’ll also need a basic understanding of IATSE contracts in general. This first introductory level is for Line Producers, UPM’s and Producers.

It’s not just the job of the film accountant to know what’s going on with the Hot Cost. The UPM and Line Producer are just as much in the hot seat as the accountant is.

Second Level of Understanding: The second, and more detailed level of understanding, is being able to calculate the Daily Hot Cost. This requires a good understanding the payroll rules associated with SAG, DGA, IATSE and Teamsters. It doesn’t mean that you have to be perfect. But it does mean that you understand the rules. So, I have taken special trouble to provide references to exact clauses in the payroll contracts that refer to:

–         Overtime

–         Rest Periods

–         Meal Penalties

These are what I call the Producer’s Three Sins.

In this series we look at each union or guild, one at a time, until we cover the rules associated with Cast (SAG), Assistant Directors (DGA), Crew (IATSE – especially Low Budget National Agreement) – and Teamsters.

In each case I will provide Excel templates and a pdf copy of the appropriate contract. Unfortunately I can’t cover all of the contracts on the West Coast (there are many Locals in California), but I can give yu a familiarity with the contracts and show you how easy it really is to pull out the payroll relevant clauses. What appears daunting is really only a few clauses that are applicable.

RECORDED FOR PRIVATE UNLIMITED VIEWING AND FILE ACCESS

Note that each recorded webinar has attached to it, through an ingenious web site called Screencast.com, all of the materials used in that webinar and all files are easily downloadable – such as template budgets in Excel and MMB, Guild/Union agreements, vital links, gross payroll calculating templates, actual cost reports, template cost reports, etc.

AGENDA- next part

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About filmproduction
I have worked in the film production industry since 1985, working on over 50 different productions of every size in 6 different countries. My self-published book, "Walk The Talk" is written in an easy to read manner for film students and working professionals who haven't had the chance to learn how to 'Direct the Money'.

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