Producer's Boot Camp - Producing Commercials & Shorts Like a Pro | Ron Cicero | Skillshare

Producer's Boot Camp - Producing Commercials & Shorts Like a Pro

Ron Cicero, EP / Producer / Director

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7 Lessons (34m)
    • 1. Meet Your Executive Producer

      2:26
    • 2. LESSON 01 - Budget Overview

      5:19
    • 3. LESSON 02 - Project Start

    • 4. LESSON 03 - The Shooting Crew

      7:39
    • 5. LESSON 04 - Location, Location, Location

      6:46
    • 6. LESSON 05 - Stages and Art Dept.

      3:10
    • 7. LESSON 06 - It's a Wrap!

      8:13

About This Class

If you’re looking to produce commercials for the world’s leading brands and their ad agencies, you’ll need to know the basics of commercial budgeting! 

I've spent the last 15+ years as a line producer and executive producer at world class production companies such as @radical media, Villains, Picrow and INVADER, among others. I've overseen spots ranging in budget from $30k to well over $1,000,000 for Top 100 Agencies and Fortune 500 brands.

Whether you’re just starting out or wanting to take your existing production business to the next tier, this class is for you. Learn how to complete an AICP budget, land work and maximize your profit on each production.

After this class, you will have a solid understanding of the strategies and tactics it takes to budget a commercial or branded short ranging from $20,000 to $1MM plus.

A basic understanding of filmmaking and Microsoft Excel will be helpful, but not required. And if your eyes glaze over at just hearing the word“spreadsheet" don’t worry! We’ll be talking mostly big concepts, which you’ll be able to use whether you’re shooting in the US or Lichtenstein.

You will need spread sheet software; Excel is strongly recommended. An AICP actualizing plugin—Hot Budget, Pont Zero, etc.--is also very helpful, but NOT required.

By sharing your completed project with other rising producers here, you’ll be able to foster relationships, get feedback and swap tips.

Ready to dive in?

You can Download a sample budget form and course materials below.

All the Best-

Ron

Transcripts

1. Meet Your Executive Producer: Pontiac and Graham, ma'am. Commercials had been around since the beginning of television. Despite our love-hate relationship with them, they're here to stay. Why? Because they work. Hi, I'm Ron Cicero. I'm a line producer and executive producer and have been for the last 15 plus years. And I'm still at it at my company invader based in Beverly Hills. As a filmmaker, you're probably wondering, well, why would I want to do commercials? Well, there's a couple reasons. First, it's a great way to try out new techniques and meet new crew. A lot of directors, especially working in the documentary space, make their living directing commercials. Errol Morris is a perfect example. In this course, we're going to learn about commercial budgeting. I know you hear budgets and spreadsheets and numbers in your eyes start to glaze over. But if you're going to work for an agency, you're going to be expected to deliver an AICPA bid form. That's part of the bid package and a really important part. In fact, budgeting is important regardless of the kind of project that you're doing, if you expect to deliver it both profitably and creatively successfully. Why did I decide to teach this class? Well, if you look around skill share, you see a lot of amazing videos on filmmaking, but they tend to focus more on just a creative and our technical aspect. Rarely do you see videos on business side or, or budgeting in particular. I really wanted to share my knowledge. So you don't make the same mistakes that I made when I was first starting out. Let's talk a little bit about the software you'll need to complete your project. You'll want to invest in Microsoft Excel if you don't have it already. This supports the industry standard plug-ins like hot budget and 0. You don't need these plugins yet, but there'll be critical down the line when you're actualizing jobs. This is an important part of your accounting. So that's it. We're gonna keep it very top line. You'll be able to transfer these skills from commercials to feature films, short films, or any type of video project, especially if you're delivering it for a client. So let's get started. 2. LESSON 01 - Budget Overview: Hi. Welcome the lesson one. We're gonna do an overview of the AI C P bid for We'll keep the top line. Then we'll get into a little bit more detail in subsequent lessons. Let's take a look at your top sheet. Formerly known as a cost summary, which is pretty self explanatory. It's a summary of all the costs in your budget, from pre production through Post First Section Pretty straightforward production company information as well as your client agency information. Next up, on the right hand side, you'll see that smaller box, which has your building strike days in pre light days. You don't necessarily have to break that out all the time, unless it's something that the agency specifically requested. Next you get into the bulk of it, which is your estimated cost summary. The first line number that's your pre production and wrap labor. This will primarily be your production team costs your labor costs as well as any labor costs associated with a pre light or a text out next line line. To that, you're shooting labor. That will be by far the largest component of your budget. Next up is pre production and wrap expenses. Section C. This is primarily casting and some miscellaneous costs like your location, managers, Scout kit and any kind of rentals prior to production. Four is Section D. That's your location and travel expenses. Pretty self explanatory will break that down because that tends to be fairly detailed. Line six on your top Ch'tis section F That's if you're using a studio or stage rental. Number seven is your art department labor section G eight is your art department expenses, which is Section H nine is your equipment costs and we'll go through this in detail as it's an area. As a producer, you can often save money. Next line is lying. 10. It's kind of an old school description. It's your film stock develop in print. It's rare that you're gonna come across film stock these days, so that's where you would put any kind of drives. Next up is a catchall category, your miscellaneous section that will often be special insurance, especially for like stunts or unusual travel, petty cash and some other expenses that will get into more detail as we get into that individual section. So those are your sections known as A through K all your direct costs, and this is an important sub line item because it's what your director profit participation will be based on, and your production fee will be based on. Production fee is often a percentage of this A through K. So as we get below your direct costs, you'll start seeing the director and creative fees. Any talent, labor, any talent expenses, of course, your post production, labor, editorial finishing and post production and then sometimes your P and W, which will talk about a minute, which is your pension and welfare will be broken down on this top page, and it's here that you'll enter that amount. Finally, your insurance and what we like to think is the most important line Number 22 and that's your production fee. So that's it. I guess the last thing to take a look at which is a really important section and is often overlooked, is your notes section in the notes section. This is where you're going to establish whether it's a firm bid or cost plus bid. A firm bid means the agency pays your grand total. The good news is, if you come under budget, the production company gets to keep that 100. Bad news is, if you go over budget production, company has to make up that shortfall. The other option, which is probably used maybe 10 or 15% of the time, is called a cost plus bid, which means you submit an AI. C P bid form like this. But you all agree it's on Lee an estimate because it might be a tricky job. There may be some unusual components with either talent or the technical execution or the creative execution, so everybody agrees that it's a cost plus bid. This is your best estimate, and then, at the end of the job, you will actualize the budget, meaning you'll go through all the rial expenses and turn that into the agency. They will pay that amount plus your feet, which is generally a percentage off the direct expenses. So those are the two types of budgets that is outlined in the notes section. Also, you'll see payment terms, which I always love to put in there. When you expect to get paid and what percentage and then as you'll notice on this particular bid, this is where you're gonna put your P and W where it's broken out so the agency can pay that separately, often because they want to pay a lower markup on that expense. And again, we can talk about that as we get into the various sections. So that's it. That's the bid form. It's not super complicated will go through the individual sections in these upcoming lessons. But now you're familiar with a big portion off bidding for TV Spot or any other type of content that you're producing for an established agency and or client. I look forward to senior on the next lesson. 3. LESSON 02 - Project Start: All right, let's get started first, take a look at the agency storyboard. Now, if this were a real job, you'd actually be referencing the director storyboard. But for this particular project, let's keep it simple, and we'll go off the agency storyboard. If you notice it's a car commercial, it's mostly running footage with some inserts. Running footage is exactly what it sounds. Cars running down the street. The director is following it, usually in something like a Porsche Cayenne with a crane on top. There's also some inserts, but overall, it's a pretty simple job. One location, one actor and one car. So let's dive into the budget, which then you'll be able to use for other projects as well. Section One A is your pre production in rap labor. You'll see Line Item number one, which is a supervising producer. Really don't use that too much in commercials, so you can skip over that. Next, though, is your lying producer line producers critical? They were responsible for men, women and equipment. They're responsible for making sure job stays on budget. That director gets what he or she wants creatively, and the agency walks away happy. It's a big responsibility. So for something like this, I would say probably eight or nine days, depending on how the budget suss is out. But we'll start with nine days. A typical rate for a line producer in 2020 is anywhere from 800 to $1300 a day, depending upon the complexity of the job and the experience. The line producer. It's a non union position, so you have some leeway for this particular job. Will say 1100. Next is your DP cinematographer slash director of photography. They're gonna need one day of prep, which means they're gonna go out with the director. They're going to scout locations with the director, talk about lighting plan and how they're gonna execute the job. So we put in one day and 4500 is about right. Rates for DP Iskan really vary for a non union low budget job. It may be $1000 a day for a high end job with an A list DP. It may be anywhere from 5 to $7000 a day. Next you have your camera operator. We're not going to use that. A lot of director of photography on commercials operate their own camera. Next is your first a C one day to prep the camera. Next up, you see the production manager and production coordinator. They're the line producers, right? And left hand men or women. They're absolutely critical. Not only do they keep all the elements of the job in order, but they're also responsible for negotiating with vendors, whether it be the camera, the lighting, etcetera. They also negotiate with crew members as well. So a solid production team can really save you not only creatively but financially. So for a job like this, I'd say around 10 days. That's about eight days of prep in two days of rap. Sometimes they need 1/3 day. But for something like this, it's fairly simple, so we'll stick with 10 each. Next line 11 is your gaffer. He's the right hand man or woman for the director of photography. Responsible for lighting will have one day for the Tech scout. They worked with DP and determining what the lighting plan will be and what equipment needs to be ordered. Same thing for the key grip. They worked with the director of photography and on a car job there especially important when it comes to any kind of rigging either lights or the camera itself. The next line for our section one a is your location Scout a location, scout slash manager on a commercial. They often double duty. Scout, of course, goes out and looks for the particular location based on the creative specifications of the director in the agency. They also need to be aware of production requirements. For example, once I had a location manager, show me an amazing house only to find out that there was a train running behind it, which would be great if it was a car shoot. But it wasn't there was audio being recorded. You can imagine having to stop every hour for the train to go by is costing the poor producer a bloody fortune. And that producer was meeting next Storyboard artists, and they worked with the director pretty straightforward. They'll take these boards and they'll translate them into the director's vision. Sometimes they're almost identical to the agency storyboards. Other times there quite a bit different. Next up is your wardrobe department. This job is pretty self contained, but you can get tripped up because remember you're gonna have your actor and then you're also gonna have a stunt driver, so you need duplicates off all your clothing. So for a job like this, they're gonna have one day to shop one day to fit the actor and the stunt driver and then one day to do any kind of revisions or re sizing. They often need an assistant to do returns and or help with tailoring. So we'll add one day for a wardrobe assistant jumping down the line. 38 39. You have your assistant directing department first a D critical, especially in a car shoot. They're responsible for logistics and safety and for making your day meaning. If you have 10 shots scheduled, they're responsible for making sure that happens. So there are a critical part of the production team. They typically will make anywhere from 11 to $1200 a day, sometimes more if it's very experience or a very difficult shoot. But for this we're putting one day jumping down your gang boss Line 40. They're the head driver, and they do much more than drive there really responsible for getting the trucks to where they need to be making sure you're not gonna get tickets making sure there's ample parking , making sure that the truck's air close enough for the various departments. You don't want the camera assistant running five blocks for a lens every time there's a lens change because your gang boss was out to lunch when you were planning the shoot nexus Craft service exactly what you think it would be. They used to do all different departments, but now they're just responsible for snacks and the like during the shoot, which is really important not only because you want to keep your crew fed and energized, but your agency often sits around. I was bored while you're doing lighting setups, and they tend to want a snack. So a good craft service person could really make the shoot very enjoyable for all involved . Finally, you'll notice you have two lines for your production assistant. One is for the office assistant. There, there pretty much every day, running errands, grabbing lunch, and then, as you get closer to production, you higher production assistance. That drive is well, meaning they'll go out, pick up the Dalai and you trust them that they're not gonna run a truck into a tree. So that's it. It's pretty straightforward that Section one A. It's your pre production and wrapped labor. Next up is less than three will go through the bulk of your budget, which is Section one B and you're shooting labor before two senior next one. 4. LESSON 03 - The Shooting Crew: Welcome back. This is Section one. Be in our budget, so let's dive in. Typically, a commercial budget will be based on a 10 hour day. That's a guarantee, so the rate is 4500 for 10. You then see your overtime broken down into a time and 1/2 and double time time and 1/2 is typically hours from 10 to 12 and then anything over 12 hours is typically double time. As a producer, you always air judging how you're gonna get the best out of your crew. Is it better to schedule a long day like a 14 hour day or 15 hour day? Or is it better to schedule to 10 hour days? A lot of folks in the commercial business or the film and TV business will often schedule these really long days. Now. Sometimes you can't avoid it. But if you can, it's always better to have two shorter days than one longer day again. That's an ideal situation, and you should always shoot for the ideal, especially when you start to bid. I find that after 14 hours you're really getting you're paying twice as much and you're only getting half the amount of work and mental acuity. So if you notice here, we kept it at 13 hours. Now we're starting. Add more positions for your shooting crew, for example. Now you have a second a c and A D I t. Your second a, c and D I t typically do not have prep days, but of course, they're integral to a production. So if you notice they're in at one day each 5 57 50 respectively, two hours of time and 1/2 and then an hour of double time moving on to your production manager production coordinator. We covered them in the earlier lesson. The production crew does not get over time. That's theoretically built into the rates. Next up is gaffer. Now you see your best boy for this particular shoot because it's an exterior and it was going to be minimal lighting that you don't see an electrical crew here. If it was a job that called for an electrical crew, then you would typically bid an electrician's at anywhere from 25 to $50 less than the best boy rate, and they, of course, would have the same overtime for the most part, same thing with your grip department. You notice now you have a best boy. In addition, your key grip and a regular grip moving on on this particular job. We didn't have an audio mixer and boom man on a union commercial. You'll have two positions on a non union commercial. Those positions may often be combined, especially if it's a documentary and you want a small crew. So if you notice those lines or blank, next is your VTR. They recover anything that has to do with playback and recording the scene so your director and your agency can review it immediately after the take in this particular commercial. They were also responsible for transmission because the agency is often in a separate vehicle and they're gonna need a means of communicating. So the VTR person will set up some type of transmitter between the camera and this follow vehicle. You see your location scout. At this point, he's no longer a scout. He or she will switch over to being a manager. They will be dealing with not only the police and safety issues, but also any businesses or homeowners that happen to be around your shooting location. Not only the people that are renting you the location, but people that maybe you're renting their yards to set up lunch or just neighbors that are like, Hey, you guys are making a lot of noise. So there are very important component of a shoot, especially if you, as a line producer, don't want to constantly be dealing with location issues. And you'd be amazed at how many issues there are, especially in the beginning of the day as you're just getting set up if you notice your storyboard. Artist is not typically on shooting, so that line is blank. Now you have your hair and makeup departments. I don't really cover them too much. It's pretty self explanatory. They can make a break a shoot, but hair and makeup kind of is what it is. Next up, you'll notice there's a camera, car driver, a crane up and crane technician. Typically, when you're shooting with something like a pursuit vehicle, you're gonna have course the actual driver and there'll be a precision driver off camera and then somebody who's actually operating the crane and then the crane Attack Line 87. You'll see your nurse and first aid, always critical on a film shoot, especially in the age of Covad that we are now. And any time there's any type of driving or stunts absolutely need those people on set. Now you'll see your first a D, which was with us on Section one A. For prep now his or her assistant the second they often do a talent on set. In addition to keeping or helping keeping the set locked down while you're shooting, you'll notice the first nor the second get over time unless it's an exceptionally long day and then the GG a does outline over time. Jumping down your script supervisor script supervisor comes on the track. Continuity there super important, especially when there's dialogue or critical action involved on a car shoot. It's always good to have because they're logging media along with the D I t. To make sure no takes or lost or media is lost. Finally, we have our production assistance. Typically, you'll have maybe still have one office P A. It will be in the motor home, working with your production crew, taking care of time cards. Then you have your driver, which again pretty self explanatory p A. Will be driving the equipment. Make sure they have double sets of keys. The last thing you want is your production assistant to show up on set with a locked truck , only to realize he does not have a set of keys to the padlock that has your camera inside. And then finally, of course, you have your set P A's. I like to schedule anywhere from 8 to 10 set P s if you have the budget for it. It's amazing how many times you have set pH is locking up driveways, especially car shoot, meaning they stand at the driveway to make sure nobody's coming out while your car, camera, car and your car are zipping by the driveway. So again, it sounds like you don't want to skimp on anything but PS air generally a fairly inexpensive way off, alleviating a lot of headaches the day of the shoot. So that's it. That's lines 51 through 100. That's your production labor, with the exception of art department, which we'll get to in section G. So if you scroll down, you'll see sub total, which is what it sounds like. Then you have your P and W. What is P and W P and W stands for pension and welfare. Those air all those additional expenses onto the rate. So it's important that you are remembering this not only when you budget the job, but also when you're hiring people because you don't want to be in a situation where you haven't accounted for the P in W. And then you're offering up a rate especially to, ah, nonunion person. And then you realize, Oh my gosh, I have an additional 30% on top of the rate that I've just agreed to that I now need to pay out when your payroll is do so. That's important. So that's it, that Section one B all your shooting labour. Now we'll move on to the next section. I look forward to seeing you at the next lesson. 5. LESSON 04 - Location, Location, Location: Welcome back. So we've covered Section one A, which is your pre production in rap labor section one B, which is your shooting labour. Now we're on a page to which has section C, D and E. 1st 1 section C is your pre production and wrap expenses. This is generally three things. Director expenses, car rentals, etcetera during the Director Scout. Second is your location kit for your Location Scout, which usually runs between 50 and $100 a day that covers his computer. Any kind of upload fees and camera expenses. And then, lastly, 1 10 and 1 11 are your casting expenses. And that is your casting director, which for this shoot is on for three days, a prep day, cast day and a callback day, and you'll also see the casting facilities. Typically, a casting director will not charge you for his prep day for casting facility, but of course, they will charge you for the Casting Day and the Callback Day. Next up is Line 1 12 which is your working meals, pretty much what it sounds like. Meals for your director during prep and for your production team during prep and wrap. Let's move on a section D of your location and travel expenses doesn't necessarily have to be a distant location. It could be in town, Los Angeles, New York, etcetera. So starting off with 1 14 those are your direct location expenses. In this particular case, it also has to deal with any street closures, which are also tied into your permit costs, at least in Los Angeles. Now, this is a perfect example of where a bid is just as much an art as it is a science. Because you don't have six days of location fees, it's a one day shoot, but it's often better to break that up so an agency doesn't see one day and the expenses air $22,000. Next up is lying 1 15 which is permits. It's about right about $3500 for a one day shoot that could beam or, if you're shooting across multiple jurisdictions, doesn't usually happen on a one day shoot, but it can. So now you're gonna start to get into kind of a standardized expenses that you're going to see in pretty much every shoot. For example, van rentals you're gonna need to shuttle your crew between parking slash base camp and where you're going to be shooting. Also dressing room vehicles, also known as honey wagons. We only had one because it's a fairly small contained shoot. But if you had multiple talent, you may need multiple honey wagons. Next line is parking tolls and gas. Pretty self explanatory. But if you notice we've made a point of breaking out a description line saying crew parking in base camp again, this will eliminate a lot of the discussions as to why is parking and gas $4000? Well, once you start to break down, okay, I'm gonna have a crew 30. That's 30 parking spots you're gonna have to pay for. You're gonna have to pay for gas for your vans and all your production vehicles, and then you need its place for your base camp, which means you're gonna be renting out at least half of a parking lot if not the entire thing. So, as with most of production, it's death by 1000 cuts Moving on. You see your production? Trucking. This is often a cute truck. That's where your production supplies. They're gonna be next up. You see, your other vehicles. 1 22 and 1 23 If you notice I put a sub description camera. That's your camera truck, where your of course your camera department works off of, and then 1 20 threes your grip and electric state bed. Often times you'll be playing leapfrog with your lighting crew, especially in a car spot where they have to jump ahead and prep the next location while you're shooting, so you'll need an additional vehicle for them. The run supplies between their main truck and whatever location they're propping. Jumping down on 1 25 and 1 26 You see your pursuit system with the crane arm, which we spoke about before, which is you are usually your Porsche high end with what's called a Russian arm and the head, and then jumping down to 1 29 through 1 31 Are your meal expenses. Generally, crews expect to be fed a breakfast, certainly lunch, and sometimes over 12 hours, you're gonna need to feed your crew dinner. Otherwise, you're gonna incur meal penalties on a union shoot. Plus, it's the right thing to do. Kit Reynolds everything from the key grip to sometimes production to Carpenter's art department, others that may show up with their own tools. They're often expected to be paid for the rental of those tools. This also is very common now for your script supervisor, who comes not just with a put board in the script but also the computer craft services we spoke about that four. Generally, that line is between 507 50 a day, depending upon the size of your crew. So that's it. That's section D. We now jump down to section E. You see your proper rentals. In this particular case, Car shoot weren't any props, so that lines Blake jumping down a line 1 42 and 1 43 This is your wardrobe lines. I often like to make a notation as to what exactly this wardrobe is. A lot of times cost consultants or agencies could get tripped up on this line. They're like $850. Well, if it's upscale menswear, that's not that unusual. In fact, it could be even higher than that. If you're buying suits and remember in this particular case, we have to outfit not only the actor, but we also have to outfit his or her stunt double. Next up is 1 44 That's your background picture vehicles. These or any vehicles above and beyond your hero vehicle. Often times on a car shoot. You're gonna wanna have cars parked along the road so it looks natural, especially if you're on a studio location. So these air additional vehicles that you're gonna rent none of the other wigs, color correction, transportation, etcetera don't apply to the shoot. Sometimes you need a wig if you need to match your precision driver with your on camera principle. But in this particular case, no wigs were needed, But that's it. So that c d and e pretty straightforward. If you have any specific questions, please do ask him in the common section, and I'll do my best to get back to as quickly as possible. Now let's move on to Page three 6. LESSON 05 - Stages and Art Dept.: Welcome back. We're now on the page three, which is F G and H pretty light for this particular job, but we'll provide some additional insight into, for example, your stage in studio expenses not applicable to this job. But let's talk about it a little bit. The biggest thing that will trip you up is the additional expenses. So typically you'll have your build Expenses when you're set is being built, and that is generally half the rate of what it will cost you. Pursuit day for pre light and shoot. It's full rate, but you have to take into account extra expenses like dumpsters or dressing rooms. That can really burn you if you don't have a clear understanding with the studio. What is going to be included in the stage, Randall And what is gonna be additional power charges air also something that you can get stuck with and sometime It actually makes more sense to bring in your own generator than using the stage power. That's sometimes an option with independent stages. If you're working at a back lot like a universal, it's not always an option, but something to consider. Let's jump down to G it's your art department labor. We could probably do an entire lesson just on art department labor. Fortunately for this job, it was fairly contained, so we really only needed a production designer and a prop master. Don't make the mistake of thinking that you don't need art department at all. A lot of times you'll hear. Oh well, we'll just fix it in post. It's amazing how many times you can get in the post and go. And if I only just moved a tree six inches to the left or put up a sign there, I could have saved thousands of dollars in post production work. So even with a running footage job, which again is pretty easy, it's a car on a road being trailed by a camera car. We still had a very small art department to take care of things like covering signs or making sure that any surrounding area waas photographically perfect. And that's really what you need on a car commercial jumping down H. You have your art department expenses, these air, your hard costs, anything from set rental, proper rental. It's all pretty self explanatory. You'll notice that there is a P and w line for your art department. Labor like any labour, if you're doing it legitimately in the U. S, you have to pay those payroll taxes and other additional expenses above and beyond the rates. That's all we got for Page three. Next page is page four. It's the last one. If you have any questions, please don't hesitate to write them in the comments section, and I'll do my best to get back to you as soon as possible regarding anything you've seen or additional questions. 7. LESSON 06 - It's a Wrap!: all right, Here we are. Last lesson page for Let's jump in first up equipment costs again. Pretty straightforward. Starting off with 1 93 That's your camera rental. Remember, this is going to encompass not only the camera body is the lenses any additional equipment . This is a line often where there is some leeway in terms of negotiation. Often times a camera houses, provided that you're not asking for something way over the top will be fairly flexible, especially if you work with a vendor over and over again. Oftentimes, it's best to establish a relationship with one or two key vendors because, inevitably, as a line producer, even if you do the biggest jobs, there's gonna be a job that's gonna come along that it's a $1,000,000 budget and there's $2 million worth of expectations. So it seems inconceivable that you could have a job that's seven figures and not have enough money. But you'd be surprised at how many times those budgets are actually tighter, and some of the very small budgets so established. Those relationships with your vendors treat them well, and when you need the help, they often will return the favor next up is your sound rental. In this particular case because it was just running footage, there was no dialogue. We did not hire a sound person, and I made a note of that because sometimes agency producers air super busy, a speck will change meaning suddenly. Now the creative director wants to capture dialogue, and this is a way of just kind of gently reminding them. Look, we're not gonna have sound there the day of shoot, so if you want it, we should be there at it now or prepared for the agency to sign an over ridge, which is an additional expense the day before or the day of shooting. Next up. Lighting grip generator. If you notice the grip, rent a line is heavier than the lighting rental that's fairly unusual. Usually it's flipped, but the reason it's like that is because this shoot is car only exterior, and generally the grips have a lot more to do when it comes to rigging a car and then also using natural light, light a car outside generator. Even if you don't have a lot of lights, you're going to still need to power your base camp. You're still gonna need power for your monitors, etcetera. 1 99 That's your VTR rental. They record separately from the camera so the director and the agency can review to take walkie talkie rental pretty straightforward again, one of those things where you think, well, I don't need walkie talkies. It's a pretty confined set that you'd be amazed how many times that the crew members have people back at the trucks or are on the road. Or what have you and walkies are really inexpensive way of saving time production supplies . Russian supplies air really important, and it seems like every production manager and line producer has their patent list of production supplies we're referring to. Here is anything that you're going to need on set to keep your agency happy will often appear in this line, so don't skimp on this. This is really important. The last thing you want to do is have your agency show up and you realize you haven't ordered enough director's chairs, and three of the creative directors now have to stand. So this really comes down to not only foresight but really keeping in mind. This is a service business as much it is, as much of it is upon production. It's also about keeping your clients and your agency's happy so they come back to you again . I cannot stress that enough. We also see expendables. This is they don't really use them much anymore, but gels or any type of tape or rope or anything that the grip and or lighting department is gonna need. D I t. Kit is lying to 07 This is your digital imaging technician in his kit. Usually it's a computer or to couple monitors to await. If you notice there's an extra camera body here, and the reason for that is is during a car shoot. It saves a lot of time if you could take an extra camera body and just keep it on your pursuit vehicle. Otherwise, every time that the director decides he wants to be off the pursuit vehicle, whether it's shooting close up or it's a shot that doesn't require the crane on the pursuit , they have to pull that camera off, and it just cost you a lot of time. So even though it seems like $3000 is a lot of money to spend on an extra body, it will save you in overtime. Remember, if you're talking about a commercial crew, you're gonna be spending at least $150,000 for that shoot day. Which means if it's a 10 hour day, you're spending $15,000 an hour. So you can imagine if taking that camera off and putting it back on cost you an hour well, made up for it by getting a second body moving on J. This is an old school section. Of course, you're probably not gonna be purchasing a lot of film stock or developing and printing it, so it really will be just your hard drives. If there's any trance coding to be done that your d I t is not doing, you would put that here and change out. Usually, I like to change outlying to 13. Put it there. Miscellaneous. This also is rarely used unless you're on a distant location. You can put petty cash in there a lot of times it'll get flagged by the agency producer or the cost consultant as being unnecessary, even though you use it, but they tend to like to see a petty cash line assigned somewhere else, as opposed to just on open bank account. But again, it's usually only $1000 or two. So okay, so last up is Section L. Your director slash creative fees. So directors air typically compensated by the shoot day here. If you notice this particular director was willing to work for a little bit less, and we made sure to point that out to the agency. It seems like a lot of money, but you have to remember, this business is extremely competitive and many commercial directors I only have a career that last a couple years at best. Also, even though it's a one day shoot, the director very well may work on it for several weeks when it comes down to pitching it, casting pre pro and then the day of the shoot. So some directors make a fortune, but it's just like anything else in life. The top 1% always can command that premium fee. Directors on a low budget local commercial may only make 500 to $1000 then the top directors can make anywhere from $200,000 a day. That's somewhat unusual. Generally, the rate is between 20 and $30,000 a day. But when you're talking about a marquee feature director, it's not unusual for them to name their price because they can. So that's it. That is everything. Yes, there's lines on the top sheet for post production and other expenses. We're not gonna cover that now. This is really just bidding a job for production. We can cover that in a future lesson. If you're interested, please mention that in the common section and we'll take that into account. I hope you enjoy the class. I hope you picked up not only had a budget a commercial, but also some insights and how to bid and how to produce a job. Thank you very much. You enjoyed it. Please pass it on your friends, anybody else interested in producing and filmmaking, and I look for the hearing in the comments section