Summary: On time and on budget: the Holy Grail for filmmakers. Budgeting and scheduling are easy in principle but hard in practice. The successful producer has a solid plan for juggling dozens of activities and costs while retaining the flexibility to cope with those inevitable last-minute changes and stay on course. Other resources look at budgeting and scheduling in isolation; this book is unique in covering the two closely intertwined activities in a single volume. Readers get both topics for the price of one book; competitors cover each topic separately. All the fundamentals of line producing are c.

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Enhanced descriptions from Syndetics:

Scheduling and Budgeting Your Film: A Panic-Free Guideexplains the fundamentals of line producing in an easy-to-understand style, and the tips and techniques apply no matter what kind of scheduling or budgeting software you use. Author Paula Landry includes full examples of breakdown forms, organizing resources, distribution expenses, and hidden costs, and discusses how to set priorities and find industry and state tax incentives.

Front Cover; Scheduling and Budgeting Your Film; Copyright Page; Acknowledgements; Introduction; About the Website.

On time and on budget: the Holy Grail for filmmakers. Budgeting and scheduling are easy in principle but hard in practice. The successful producer has a solid plan for juggling dozens of activities and costs while retaining the flexibility to cope with those inevitable last-minute changes and stay on course. Other resources look at budgeting and scheduling in isolation; this book is unique in covering the two closely intertwined activities in a single volume. Readers get both topics for the price of one book; competitors cover each topic separately. All the fundamentals of line producing are c.

Table of contents provided by Syndetics

Acknowledgements (p. ix)
Introduction (p. xi)
About the Website (p. xii)
Chapter 1 Schedule and Budget Basics (p. 1)
What is Production Management? (p. 1)
The Schedule and Budget Relationship (p. 2)
Who Manages the Schedule and Budget (p. 4)
A Little History (p. 6)
Helpful Tools and Software (p. 8)
A Manual and Computer Approach (p. 8)
Basic Steps and Stages (p. 10)
Scheduling (p. 10)
Budgeting (p. 12)
End of Chapter One Review (p. 14)
Chapter 2 Identifying Resources: The Breakdown (p. 15)
When Is A Breakdown Created? (p. 18)
Relationship of Script and Breakdown (p. 19)
Script Format (p. 22)
Metric (p. 23)
Rigid Guidelines (p. 23)
Word Processing Software (p. 24)
Set Up Your System: Software, Colors, Numbers (p. 26)
Software System (p. 27)
Color Systems (p. 28)
Number Systems (p. 31)
Breakdown Forms (p. 34)
the Process of Breaking Down a Script (p. 38)
Read Script Completely Through (p. 40)
Number Scenes (p. 40)
Eighths of a Page (p. 44)
Identify Resources (p. 46)
Transfer Information to Breakdown Forms (p. 53)
End of Chapter Two Review (p. 62)
Chapter 3 Organizing Resources: The Schedule (p. 63)
Creating a Schedule (p. 64)
Your System: Workflow and Consistency (p. 66)
The Process: Transfer Breakdown Information into Schedule (p. 71)
Let's Go: Manual Version (p. 72)
Let's Go: Computer Version (p. 73)
Grouping Like Things (p. 78)
Sorting by Set (p. 78)
Cast (p. 83)
The Most Finite Resource (p. 87)
Arrange Schedule for Maximum Efficiency (p. 89)
One Line Schedule (p. 92)
Day Out of Days (p. 9494)
Factors Impacting the Schedule (p. 96)
Film or Digital Format (p. 96)
Shooting Ratio and Experience (p. 97)
Unions and Guilds (p. 98)
Locations (p. 99)
Length of Shooting WeekDay (p. 100)
Sample Schedules (p. 103)
Short Doc. Film (p. 103)
Student Short Film (p. 104)
Webisode (p. 104)
Corporate Video (p. 105)
Transfer Information to Breakdown Forms (p. 53)
End of Chapter Two Review (p. 62)
Chapter 3 Organizing Resources: The Schedule (p. 63)
Creating a Schedule (p. 64)
Your System: Workflow and Consistency (p. 66)
The Process: Transfer Breakdown Information into Schedule (p. 71)
Let's Go: Manual Version (p. 72)
Let's Go: Computer Version (p. 73)
Grouping Like Things (p. 78)
Sorting by Set (p. 78)
Cast (p. 83)
The Most Finite Resource (p. 87)
Arrange Schedule for Maximum Efficiency (p. 89)
One Line Schedule (p. 92)
Day Out of Days (p. 9494)
Factors Impacting the Schedule (p. 96)
Film or Digital Format (p. 96)
Shooting Ratio and Experience (p. 97)
Unions and Guilds (p. 98)
Locations (p. 99)
Length of Shooting Week / Day (p. 100)
Sample Schedules (p. 103)
Short Doc. Film (p. 103)
Student Short Film (p. 104)
Webisode (p. 104)
Corporate Video (p. 105)
TV Commercial (p. 105)
Feature (p. 106)
End of Chapter Three Review (p. 108)
Chapter 4 Pricing Resources: The Budget (p. 109)
Budget Components (p. 110)
Construction (p. 111)
Presentation (p. 113)
Calculation (p. 116)
Account Numbers (p. 121)
Backing into a Number (p. 125)
Price Resources (p. 127)
Step 1: Identify and Obtain Prices (p. 127)
Step 2: Negotiate (p. 131)
Step 3: Lock in Your Deals (p. 132)
Factors Impacting the Budget (p. 133)
Type of Project (p. 133)
Locations and Incentives (p. 135)
Union, Guilds, and Wages (p. 137)
Project Length and Format (p. 143)
Building a Budget (p. 152)
Setup (p. 152)
Above the Line: Creative and Development Costs (p. 158)
Below the Line: Production (p. 169)
Below the Line: Post Production (p. 1188)
Below the Line: Other Expenses (p. 194)
Sample Budgets (p. 196)
End of Chapter Four Review (p. 203)
Chapter 5 Helpful Scheduling and Budgeting Tips (p. 205)
Gaining Experience (p. 205)
Evolution of the Schedule and Budget (p. 215)
The Team (p. 216)
Priorities, Prices and Deal Making (p. 217)
Changes During. Shooting (p. 221)
Safety and Insurance (p. 223)
Publicity and Marketing (p. 226)
Distribution Expenses (p. 228)
Hidden Expenses (p. 229)
End of Chapter Five Review (p. 233)
Chapter 6 Managing Resources (p. 235)
Relationship between Script, Schedule and Budge (p. 238)
Production Accountant, AD and Line Producer (p. 239)
Optimize the Shoot (p. 243)
No Unnecessary Movemen (p. 243t)
Consider the Weather (p. 243)
TV Commercial (p. 105)
Feature (p. 106)
End of Chapter Three Review (p. 108)
Chapter 4 Pricing Resources: The Budget (p. 109)
Budget Components (p. 110)
Construction (p. 111)
Presentation (p. 113)
Calculation (p. 116)
Account Numbers (p. 121)
Days Off, Turnaround, Meal Times (p. 244)
Using a Second Unit (p. 244)
Other Factors (p. 245)
End of Chapter Six Review (p. 248)
Chapter 7 Special Considerations (p. 249)
Narrative Feature Film (p. 254)
Strengthening the Relationship with your Team (p. 256)
Documentary Film (p. 257)
Shorts, Web Video and Webisodes (p. 265)
Television (p. 269)
Who's Driving the Bus? (p. 269)
The Pilot (p. 273)
Educational and Corporate Films (p. 276)
Working Without a Script (p. 278)
End of Chapter Seven Review (p. 280)
Chapter 8 Additional Topics You Are Bound to Encounter (p. 283)
Scheduling (p. 284)
Contrast and Compare (p. 284)
Lock it UP (p. 284)
Stay Practical (p. 286)
Questions about Eighths (p. 290)
Script Inconsistency and New Versions (p. 290)
Honing Your Scheduling Skills (p. 291)
Location, Location, Location (p. 292)
Budgeting (p. 294)
Catering and Craft Service (p. 295)
Digital Format (p. 295)
Transportation (p. 296)
End of Chapter Eight Review (p. 298)
Index (p. 299)

Author notes provided by Syndetics

Paula Landry is a film and music producer who creates commercials, multimedia concerts, films, and branded videos for the internet. Landry is president of Idea Blizzard Productions. An active member of NYWIFT, the IFP and AFM, Landry speaks at seminars around the world about the film, music, and media business.