The Purpose and Product of Film Accounting

(NY CPE Licensed Sponsor – CPE 14 Hrs)


The Purpose of Film Accounting is to help the producers create the best feature film, or television series, that is possible for the money invested. This would be considered by some to be the “Overall Goal”.

The Product of Film Accounting is the “Weekly Production Cost Report” – the financial report card, letting the producers, and investors, know if we are progressing on time and on budget.


Whenever you have multiple creative people planning and spending their budgets through short periods of time, there are bound to be tempers flaring and cross currents happening among powerful leaders in the industry. All through that chaos and flared tempers, the Film Accounting Team must predict and report succinctly the financial status to the producers & investors.


Film Production Accounting is the last accounting career of stature, earning very good income, where a CPA Is not a prerequisite. The career usually starts at the bottom of the Accounting Department, where you work your way up through 3 levels to being the “Key” Film Production Accountant. The keener you are, the faster you rise through the levels.


Get some experience and familiarity with the tools of the trade. Where do you find out about work? What are the skill sets required? Is there a specific general ledger software you need to know more about? All of these questions are answered and practiced in my Film Accounting 101 workshop in NYC, September 15th and 16th, 2018. Come join us in the heart of Times Square at 1441 Broadway Ave for a weekend of learning and sharing.


This is a weekend of practicing the “film studio standards” of film production accounting. You work with all the usual tools, such as a real film budget, cost reports and hot costs, and the commonly used proprietary general ledger software used in the Film Industry. From all the testimonials over the past 6 years, the workshop is fun, effective and has started many careers in the industry.

There are more benefits to doing the workshop. Check them out at

I’m on a production in NYC for 6 months.  I’m rarely in this city. We have a group of professionals attending and have room for a few more.  I hope to see you there

Cheers / John


John Gaskin is a New York licensed CPE sponsor.


Film and Television Production Accounting (CPE 14 Hours)


Film Accounting has the same elements as any business – Bookkeeping, Reporting and Auditing. However, the rapidity and convention of the film accounting process has to be experienced to believe. There’s “Petty Cash” of $40,000 a week, about 200 to 500 Purchase Orders a week (at least in the last weeks of prep and the first weeks of shooting), etc. The paperwork can trample the accounting system IF you aren’t prepared with a workable system. And THAT’s what separates Film Accounting from any other – the workable industry specific system that’s the same from production to production and which the producers, financiers, crews and the cast have grown accustomed to.


The production of a film or TV project can be seen as a full-blown dramatization of the life cycle of a manufacturing company. In a few months the crew move into an empty warehouse/studio, rent or buy furniture, equipment, vehicles, props, wardrobe, shoot the ‘product’ for a very specifically locked-in budget, and then  return all the rentals and sell whatever was bought, wind up the bank and leave the warehouse/studio as they found it – empty of everything except maybe the dumpster awaiting pick-up. Most business accountants don’t see the full life cycle of a business – ever. So, the production personnel and production accountants have developed a niche for this kind of thing – especially, given the very specific type of budgeting and cost reporting that is entailed in such a fast life cycle.


The film and television production industry uses proprietary general ledger software not available in the market place. In my workshop we work with that software giving you 2 days of practical experience unattainable any other way. We pay specific attention to the general terminology, the film production industry specific accounting practices as well as the general flow of all accounting forms and reports.


Film Accounting is the only business category on earth which doesn’t require you to have previous accounting training. The assistant accountants usually rise on the food chain with a series of on-the-job clerical jobs (with pay). Of course, you’d be ahead of the crowd if you had accounting and bookkeeping fundamentals, but really the only requirement is a sharp mind and bright attitude.

For all of you CPA’s, I am a “Licensed Sponsor” for Continuing Professional Education in New York State.

Whether your intention is to enter the film industry, or just to get some fun CPE, I hope to see you at our next workshop in September, 2018. If you have any questions, please email

For more information see

Cheers / John


John Gaskin has worked in Film Accounting since 1985 on over 50 film and television productions of every size, in 6 different countries. Visit for testimonials and agendas, etc.


Feedback From An Experienced Production Accountant

John Gaskin

John Gaskin Workshops

Quite often my workshop attendees go back to their respective cities and towns, get busy, and I don’t hear from them for months/years. Occasionally, I get a feedback from someone else about a former attendee, and that is always very gratifying.

Here is some very positive feedback about one of my Film Payroll Workshop attendees. What’s particularly validating, at least for me, is that the author is a 26 year industry veteran:
“I’m a production accountant and I felt I had to write to you.  I’ve had several people ask me about your classes and unfortunately I could only tell them that I didn’t know anything. Of course, in this industry getting outside training was never there for many of us back in the day.  We learned as we went.  
I needed a filler for my payroll accountant on a series I’m currently working on – I found LaVeda Lewis thru a friend.  She came in needed no help and got a hefty load of payroll, new starts & SAG completed beautifully (week before shoot starts).   I asked her who trained her since she had only worked on a few projects.  It was you!  
So just wanted to say – I will now be able to tell people to take your classes with confidence that they will learn things the right way.  Thank you for what you do – the next generation will be off to a great start because of it! 
Have a great weekend!”   – Shari Sontag, Production Accountant, May 25/17  (See Shari’s 26 years of experience by clicking here).
We have another payroll workshop coming up in August. To learn more, click here.
Cheers / John

Film Payroll Workshop – Testimonial

Here is an email that I received on May 25/17. It’s a great testimonial, from an experienced production accountant, encouraging me to carry on with the Payroll Workshops:


“I’m a production accountant and I felt I had to write to you.  I’ve had several people ask me about your classes and unfortunately I could only tell them that I didn’t know anything. Of course, in this industry getting outside training was never there for many of us back in the day.  We learned as we went.

I needed a filler for my payroll accountant on a series I’m currently working on – I found LaVeda Lewis thru a friend.  She came in, needed no help, and got a hefty load of payroll, new starts & SAG completed beautifully (week before shoot starts).   I asked her who trained her since she had only worked on a few projects.  It was you!
So just wanted to say – I will now be able to tell people to take your classes with confidence that they will learn things the right way.  Thank you for what you do – the next generation will be off to a great start because of it!”
-Shari Sontag, Film Production Accountant, May 25, 2017

The two-day live workshop will concentrate on the actual calculation of gross payroll for each of SAG, DGA, IATSE (Low Budget Agreement and Area Standards).

The emphasis is on the practical application of the guild/ union payroll rules according to each Agreement.

This practical workshop is vital for anybody wanting to work as a Film Payroll Accountant, or as a Line Producer who must understand the various union /guild agreements for budgeting purposes.

Cheers / John

The Trust Barrier Facing Emerging Film Producers


Once an Emerging Producer has a trusted, working script the major roadblock to overcome is financing. The concept of financing has been fraught with Ponzi schemes and false promises since money was first invented.  Is it any wonder that there is a general distrust of anyone asking for financing? … Let alone someone with little experience and  gaining the trust of investors, studio exec’s, casting directors, completion guarantors, experienced line producers, etc.

The purpose of this article is to help you break down the barriers to financing your film simply by educating you on the terms and processes taken for granted by film industry professional film producers. Watch the short video and you’ll see what I mean.


The best way I know to understand the film industry business cycle is to break it down into the basic functions of the full business cycle. The practical categories used by Producers in their everyday work are:

  • Development (Investor Confidence),
  • Green Light Stage,
  • Production Stage,
  • Post & Audit Stage and
  • The Waterfall


This online course takes  about 2 or 3 hours to go through, has 12 videos and a 71 page course content. I have priced this for Emerging Producers at just $39.95.

It also includes a download of a $9Mil professional budget example in pdf format.




For more information see 


Cheers / John

Media and Entertainment Market Expected to Reach $771 Billion by 2019

HFILMACCOUNTING101ere’s what has to say about the U.S. media and entertainment (M&E) industry:

“The U.S. media and entertainment (M&E) industry is comprised of businesses that produce and distribute motion pictures, television programs and commercials along with streaming content, music and audio recordings, broadcast, radio, book publishing, and video games.  The U.S. M&E market … is expected to reach $771 billion by 2019, up from $632 billion in 2015, according to the 2014 – 2019 Entertainment & Media Outlook by PriceWaterhouseCoopers (PwC).”


That should be good news for anyone working on the periphery of the film and TV industry, but it should also be a wake-up call for CPA’s looking to expand their practice. Regardless if you’re interested in Film Production Accounting, or in working as a Line Producer, you’re probably wondering how you would fit into the M&E Industry. If I were you here are some of the immediate questions I would ask:

  • What does the Film Accountant do that supports and is parallel with what a Producer needs to know?
  • What qualifications does a person need to start working in film accounting? (Answer: surprisingly little)
  • What are the industry specific accounting practices, reports and terminology that the film accountant prepares and the Producer must be able to supervise?
  • How can an understanding of film accounting help me generate new business from Film Tax Incentives, and help the Producer access funding?
  • How would an understanding of film and television production open the door to new business for my CPA practice?
  • What level of billing or wages are usual for the film industry?
  • What accounting, budgeting and scheduling software is used during a film or television production, how can I get familiar with it?
  • How do I find contacts in the film industry?

Do some research. I think you’ll find that there is very little, if any, information available online – and most of what you’ll find is authored by me.


Your questions will be answered in a weekend workshop, Film Accounting 101. I have another one coming up on May 6th and 7th in Chicago, IL. Learn by actually doing in a controlled environment. I keep the workshops less than 20 people so that we can have lots of one-on-one time.


For more info see


Cheers / John






Producer Tasks Often Overlooked – Cashflows

I recently stumbled across a Filmmaker’s Checklist by Jason Brubaker. I really liked it! Normally, those kinds of lists just annoy me; however, Jason’s list of 65 items all ring true from my 30 years of experience in production. It’s prepared for the small Indie Producer trying to emerge into this very competitive film industry. By all means check it out.


Without taking away from Jason’s excellent list, he missed one vital step – the Cashflow of the Production Budget. This schedule is KEY to arranging financing. Without it the financiers will not know how much is required on a week-to-week basis, making the financing seem like one big blob.


Remember, no-prediction = high-risk. Investors want you to show a week-to-week prediction of cashflow requirements FOR EVERY NUMBER IN THE BUDGET. Some of those numbers may be a guess, but it really does give the bonding company, the banks and the financiers a lot of comfort that the Producer is at least attempting to reduce the risk for the investor. See the video clip below.


CashflowsAnother schedule which potential investor’s love to see is a match-up of all budgeted costs with the known funding – sometimes called the “Loan Analysis Schedule”. This is a schedule which matches the budgeted costs with the arrival of any and all funding, whether it be loans on Tax Credits, Equity funding, loans on any Pre-Sales in foreign territories, etc. See this video clip to see what I mean.


Yes, this might be the duties of a film production accountant; however, if you are an emerging producer you should have this task as one of your skills when raising financing early in development. Once you have the templates it really is quite easy to master.

See the following links for more information about film accounting courses and film production courses for emerging producers.


Cheers / John

Emerging Producers – Overview of the Film Industry


Emerging Producers must separate themselves from the crowd as someone who knows the “Business Language” of the investors, Major Studios, Completion Guarantors, Distributors, etc. You can’t be confused with the clutter of people who “have a great idea”, but can’t express their ideas in a business like manner.

The purpose of this article is to help you take a giant step towards your goal as a Producer, and of ultimately financing for your film.


By breaking down the business cycle of film into:

  • Development (Investor Confidence),
  • Green Light Stage,
  • Production Stage,
  • Post & Audit Stage and
  • The Waterfall

you will be able to more confidently discuss the film and television production business from a business perspective with potential investors and completion guarantors throughout North America.


This online course takes  about 2 or 3 hours to go through, has 12 videos and a 71 page course content. It also includes a download of a $9Mil professional budget example in pdf format.

See for more information.Overview-Indie

Cheers / John

John is a working film production accountant who has worked on over 50 film and television productions in 6 countries since 1985. His book, “Walk The Talk”, live workshops and online courses are highly regarded. See for more info.

Film Accounting – The Quandary of Breaking In

Any person who wants to break into Film Accounting as a profession has a very hard time of it. The film producers don’t budget for “training” – they want somebody to walk into the position and GO-GO-GO.

Is Film Accounting That Different?

It’s not that film accounting is particularly difficult, or even that different. It’s the same principles as other industries, like construction for instance. The big three functions of Bookkeeping, Internal Controls and Reporting are true for film accounting just as they are for other industries. The biggest difference is rooted in the film industry specific practices, terminology and film accounting software systems which are virtually unknown outside of the film production industry.

Producers and the “Key” Film Accountants Want Experienced People

Most film accountants aren’t certified accountants in any other field – although if you have experience as a bookkeeper or CPA behind you it’s a heck of a lot easier to advance. Film Production Accountants are simply smart people, not allergic to fast pace and long-ish hours, who have worked their way into that position. The apprenticeship system still works, but when more and more demand is put on film producers to produce faster, cheaper, better, there’s less and less room for an apprentice. So, how do you get experience?

How To Solve This Quandary?

The only way I know of is to train as a film assistant accountant in a workshop environment using the film accounting software systems known only within the film industry. You will be saturated with film industry specific practices and terminology, all while learning the practical aspects of the unique film accounting software generally used in film production.

Come to my next intensive workshop in Los Angeles on May 17/18, 2014. It is 23 hours of CPE.

See my website at for more details. Most of my workshops are held in Louisiana, Atlanta, Detroit and Toronto. This is only the fourth time that I’ve been back to Los Angeles in the past 4 years, so don’t miss it!

Regards to all,

John Gaskin

Veteran of over 50 film and television productions in 6 different countries. See IMDb for credits.


Film Production – Your Daily Report Card

hotcost The Hot Cost measures the daily cost of labor (Cast and Crew) with the budgeted amount of daily labor – along with the page shot compared to the page count planned to be shot that day. It goes to all financiers, studio execs, the completion guarantor, etc – establishing your credentials as a Producer/Production Manager. You could call this your daily financial report card.


The Film Production Accountant prepares it, usually without too much input from the UPM or assistant accountants. Some key film production accountants involve their payroll accountant; however, I have found that unsuccessful – it simply puts too much burden on the payroll accountant. The Hot Cost should be prepared with enough information to be checked by the UPM.


Each day the Assistant Director’s prepare a “Daily Production Report”. The In/Out times, as well as the lunch break, is recorded on the DPR. Every person who worked on set is named along with their title. In addition, the DPR shows all the times related to each and every actor, the number of lunch plates, the page count shot (per the Script Supervisor),any notations of accidents/delivery of major equipment/illnesses, etc. From the DPR the Key Film Production Accountant calculates the actual costs of cast and crew for the day and compares it to the budgeted  daily cost.


You really need to have a grasp of the cast and crew union rules for calculating payroll in order to effectively manage the hot cost reports. Once you get a grasp the union rules you’ll start to wonder what all the fuss was about. No matter what union contracts you’re dealing with, each Union has broken down their rules into the following 4 categories:

1. The “Basic Day” and Overtime Rules

2. The penalties associated with “Rest Violations” (also called “Turnaround”).

3. The penalties associated with violating Meal Periods (called “Meal Penalties”).

4. The various circumstances associated with Travel – whether to a “Distant Location” (i.e. staying in a hotel), or travelling outside of a defined “Studio Zone” (also often referred to in each locale as “The Circle”).

For those of you newly exposed to Screen Actors Guild, the various IATSE (crew) Locals and the Teamster (driver) Locals, it may seem a little too much; however, it’s MUCH easier than learning to use Excel – so, have a little patience, do a lot of practice time cards, and you’ll have it.


The solution to understanding any Hot Cost is to find a central source of contracts for SAG, DGA and IATSE then summarize the four rules mentioned above. Then have someone show you their version of Excel formulas which comply with these central rules. At the risk of shameless self-promotion, I have done that, one union at a time for each of SAG, DGA, IATSE National Low Budget (any feature or TV production in North America less than $13Mil) and IATSE Area Standards (any feature or TV production greater than $13Mil outside of the Los Angeles and New York zones). I have a general Teamster contract for the non-LA/NY areas, but, honestly, it’s child’s play to understand after learning the above. Actually, it is not a problem for me to say that if you understand SAG, DGA, IATSE Low Budget and IATSE Area Standards you can work anywhere in America or Canada – it would only be necessary to get a copy of the local contracts in those higher production centers and you’d be ready in a day or so.


I’ve found that a full weekend practicing the film and television payroll rules, followed up by on-line links to all the materials, is plenty for your average person to learn how to calculate the union/guild payrolls to “gross” (i.e. to the gross amount of pay due before union and government benefits/deductions). I also supply templates (yes, with the formulas) which are “helpers” ad which you can use to develop your own Hot Costs, no matter the circumstances. I leave you with on-line links to all of the materials – see this link to get an idea of what I mean.

Have a look at this link to a short video of how my SAG on-line course works.

Check out  for live weekend payroll workshops, as well as workshops on Film Accounting.

If you are already a film accountant and would like to learn more about Hot Costs, see this short video.



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