Chapter 29

Wrap

 

INTRODUCTION

This chapter wouldn’t have changed much from the previous edition if I hadn’t experienced the other side of the fence last year. Your perspective certainly changes when instead of being the one to wrap a show — you’re the one digging through someone else’s wrap book, boxed assets and files trying to locate items needed for reshoots, promotional purposes, post production or archives — or when you’re the one trying to find an elusive contract or piece of artwork from a show after everyone who worked on that show has long gone. It totally amazed me that there were boxes in storage that weren’t labeled with the title of the show on them, let alone numbered. I had trouble grasping the reality of how incomplete some of the wrap books were, that items listed on inventories were nowhere to be found and that insurance claims no one knew existed were still coming in over a year after a show had wrapped. And there was one show that turned in hundreds of pieces of wardrobe that had never even been inventoried. I found that some productions had been impeccably wrapped, and others that had been hastily thrown together and literally dumped — making it incredibly difficult, time-consuming, expensive and frustrating for those whose responsibility it became to later find, pull, reshoot, sell and make sense of it all.

You can blame a poorly wrapped show on a budget that’s too tight to sustain a longer wrap period or on staff and crew members who are in too much of a hurry to leave, but in reality, there should be no excuse for leaving a trail of headaches in your wake. As good as any one person may perform during the production, our final impression of that person is often based upon how professionally and thoroughly he or she has wrapped their last show.

Depending on what department you’re in, wrapping a show and neatly tying up all the loose ends will range anywhere from a couple of days to three or four weeks (even longer on a bigger picture). Estimating how long it’ll take will depend on factors such as your budget; the type of show you’re doing; whether you’re on a distant or foreign location (or not); applicable union and guild regulations; sets to be struck; practical locations to be repaired and restored; paperwork to be submitted; rentals to be returned; assets to be inventoried and stored or disposed of; hero set dressing, props and wardrobe to be pulled and set aside for re-shoots or inserts; insurance claims to be prepared and submitted and offices to be closed up.

For those of you working on a studio film or for an established independent production company, your production executive will, in all probability, give you specific instructions detailing how everything is to be wrapped and delivered, where assets are to be stored, what can be sold, and so forth. For those of you on your own, this chapter will guide you through the process.

The line producer and/or production manager, taking all variables into consideration, will usually prepare a staff and crew wrap schedule prior to the end of principal photography. Production managers, coordinators and accountants will generally take longer to wrap than other crew members, with two or three members of the accounting department the last to leave before turning their files over to a post production accountant.

 

RECOVERABLE ASSETS

Recoverable assets are the props, set dressing, costumes, office furniture and accessories, tools, equipment, electronics, expendables, etc. purchased specifically for a show. The accounting department will usually track the purchase of all assets worth over $50 or $100 and generate a list by department. Each department is responsible for checking this list against their inventory as well as identifying items on the list that have been lost or damaged. Some studios, in fact, will require the submission of a police report for lost items valued over a certain amount.

The disposition of recoverable assets will need to be determined well in advance of the last day of shooting. Most important is the identification of hero (or key) props, set dressing, costumes, picture vehicles and set pieces (individual items established on film) that could be used for additional photography, reshoots, inserts, sequels, promotional or archival purposes. Some assets (such as custom-made props, oneof-a-kind costumes or pricey jewelry) may have been tagged since pre-production — destined for a specific end destination.

As for all the nonhero and off-camera assets: if the company you’re working for has its own storage facilities and/or has a practice of reusing and recycling, then it’s just a question of accounting for what you have and knowing where to have it all delivered. If it’s your production, you plan on doing others, and you can afford the storage, then it would be ideal to store those items that can be used on subsequent pictures.

If you’re shooting on location, it’s often more prudent to sell some (or all) nonhero assets rather than to ship them back. In those situations, you can have one huge sale before you leave (people love buying things used by movie companies), or you can hire someone to do the selling for you. If the company doesn’t (or you don’t) have a storage facility, then you’ll probably have to dispose of a majority of the nonhero assets anyway — regardless of whether you’re on a distant location.

There are several options for the disposing of assets — some of which you may handle at the completion of principal photography, and the rest, once your show’s been released, and there’s no further need for these items. Here are some of the ways assets are dealt with:

• Sell to your cast and crew (usually for at least 50¢ on the dollar).

• Sell or pass on to other productions.

• Resale and/or consignment shops (like It’s a Wrap in Los Angeles) routinely take wardrobe from films.

• Hero props and wardrobe are often used for promotional purposes, such as premieres, theatre displays and photo shoots — some used again later for promoting a DVD release.

• Wardrobe rental houses, prop houses and studio prop departments will often purchase leftover assets if it’s inventory they can use, or they’ll sometimes trade assets for rental credit you can use on future shows.

• Assets are often traded to offset L&D (loss and damage) charges.

• You can hold online auctions or turn your assets over to a company that will sell them for you.

• You can donate them to theatre companies, schools and nonprofit organizations.

• Some studios and production companies have an archives, wheretheyverymeticulouslystore, preserve(andoften display) recognizable, key pieces from each of their pictures.

• There are also asset management companies that will provide the storage for you, inventory, pull and deliver items when and where needed.

At the end of this chapter, you’ll find a Purchase Agreement form to use when selling assets. By signing it, the purchaser agrees to accept the asset being sold “as is” and to release the production from any liability. But as a word of caution (even with this form), to avoid potential lawsuits and huge problems, make it a practice not to sell vehicles, machinery, special effects rigs, etc. that have been modified and/or pose a potential element of risk to the user.

If you’re the one responsible for securing storage for the assets, if at all possible, select a place that’s clean, secure and air-conditioned. You don’t want a facility that’s subject to extreme weather or is a breeding ground for insects and critters, because the idea is to preserve what you’re saving. To consolidate space and keep everything organized and off the floor, you’ll want to stock your storage unit with plenty of shelving units and wardrobe racks.

 

GETTING STARTED

Approximately two weeks before the completion of principal photography, issue a memo asking each department to check their assets against the list received from Accounting. Inform them of how you want their departmental inventories prepared (there’s a sample inventory template at the end of the chapter), who should receive the inventories, and which scenes are slated for possible reshoots (so they’ll know which items need to be pulled and separated), where everything is to be stored, and which items may be sold and for how much. Ask crew members to start assessing the L&D on their rentals, and let them know which assets may be traded to vendors to offset L&D charges (reminding them to inform you, in advance, of any such arrangement). This is also a good time to inform crew members that you’ll be reviewing total wrap mandays with each department in the coming week.

In theory, those departments given a sufficient amount of wrap should have less L&D, due to the fact that they have the time to clean and/or repair certain items themselves and can search for and retrieve items that have been misplaced. Although this is often the case, much also depends on how any given department has been organized and has taken care of its rentals throughout the shoot. Those who are conscientious from the beginning can generally wrap quickly with little or no L&D. (You’ll find a Loss & Damage Report form at the end of the chapter, which your crew can use to document their L&D.)

Being able to confirm wrap dates is crucial in determining final shooting costs. Some production managers meet with department heads to discuss the wrap date of each member of their department. At the end of the chapter, you’ll find a Departmental Wrap Schedule form that will come in handy for just that purpose. It’s a great way to document and authorize a precise wrap schedule, and to make everyone understand that absolutely no one is going to be paid for wrap days that aren’t preapproved.

There are many things you can do to start the wrap process prior to the completion of principal photography. The more you can accomplish ahead of time, the smoother and faster the wrap. This will get you started:

• Make a sweep of the office and collect things such as film commission information packets, headshots and any type of demo DVD — anything that can be returned — and start returning.

• Start cutting down on office supply orders, bottled water, etc. Don’t order anything more than what is absolutely necessary to get you through to the end of the show.

• Start assembling final crew, cast and contact lists. The crew lists, in particular, should be available to distribute prior to the last day of filming.

• Check with department heads to see whether there are any rentals that can be returned early. This would include any office equipment no longer being used.

• Assuming you’ve been keeping track of all of your product placement items, start returning what you can as soon as you can, and keep what’s still needed secure until it’s ready to be sent back. This is stuff that can (and does) easily disappear — especially things like iPhones and laptops. Make sure everyone understands that this is merchandise that has to be sent back, and keep it locked up when not needed on set.

• After making sure all originals are on file, collect all extra copies of outdated crew lists, cast lists, contact lists, sche dules and day-out-of-days. Feed all sensitive material to the shredder and dump the rest in the recycle bin.

• Inform vendors of when the last day of filming will be and when returns will be made. Also start scheduling necessary pick-ups.

• If not already done, decide on and order show gifts. If your budget can afford it, order enough for your favorite vendors, film commission reps and production executives. Whether the gifts are distributed on the set prior to the last day of filming, on the last day or at the wrap party — tag gifts with cast/crew/staff members’ names and divide them by department. Using cast and crew lists, check off each person’s name as they’re given their gift. This way, no one is inadvertently left out.

• Schedule a day to have a cast and crew photo taken. (Try for a day when the majority of the cast will be there. If that isn’t possible, call and invite those who aren’t scheduled to work that day.) Once you get a good shot, you can email it to everyone.

• Start planning a wrap party. Design an invitation or notice and distribute accordingly.

• Scout around for new productions about to start and talk to their production coordinators. One or two might be interested in buying your leftover expendables, office supplies and office items such as lamps, fans, heaters, toaster oven, coffee pots, etc. Prepare an inventory (with prices) and e-mail it to those interested.

 

TENTATIVE SCREEN CREDITS

Before leaving the show, the production coordinator will usually be asked to do the first draft of the tentative screen credits. It’s best to start prior to the end of principal photography, so you can confer with department heads before they leave. It also takes a while to go through a mountain of contracts and deal memos to make sure you have all contractual credit obligations covered. Before anything is submitted, copies should be sent to the producer, director, line producer, UPM and production supervisor for review, comments, additions, etc. The studios and major production companies will give the coordinators on their shows a template for how they want the credits listed, and although each has slightly different guidelines, they all take care of properly placing certain credits in certain positions as required by union and guild agreements. If you’re on your own with this, you’ll find much more information on screen credits (including union and guild guidelines) in Chapter 30.

Here’s a letter you can copy and use that should help in the preparation of your tentative screen credits:

It’s not uncommon for certain vendors to be granted screen credit in the end crawl, so check all of your rental agreements to verify which ones (if any) should be added to your list of tentative screen credits. Also, some vendors will send you artwork or camera-ready logos. When you receive these, make sure they’re passed on to Post Production. Also make note of what you’re turning over to Post in your wrap memo, just to make sure that these logos aren’t inadvertently overlooked later on.

The thing to remember about screen credits is that except for explicit union and guild guidelines that may be applicable, specific contractual obligations and possibly a limited amount of time in which the credits can run, the prevailing authority over who gets screen credit and the placement of said credits is the producer — which often means the studio (or production company) with input from the producers and director. So what starts out as a first draft of tentative credits at the end of principal photography will often look quite differently 12 drafts later before they’re finalized.

Although what’s submitted as tentative is very likely to change before it hits the screen, make sure that the first draft is as accurate as you can get it. Check and double-check that everyone who’s due credit, gets on that tentative list, and that all names are spelled correctly. As implausible at it may seem, an error that starts with the first draft can be passed on to the next without notice. Inevitably, no matter how many people review and approve subsequent drafts, there’s always the chance that some deserving person’s name will unintentionally get left off the crawl and/or names will inadvertently be misspelled. When this happens, it creates hurt feelings, can be extremely embarrassing and is difficult and costly to fix.

 

AT THE COMPLETION OF PRINCIPAL PHOTOGRAPHY

Okay, so shooting has now been completed, the wrap party was a smashing success, everyone’s in a hurry to go on to their next show and/or catch up on their sleep — and you’re now officially in wrap. Submit written notice to the property or facilities manager as to when you’ll be vacating the offices. Also change your office hours. Shooting days are generally 12 hours or more, but wrap days should be no longer than 10 hours.

As soon as they’re no longer needed, start collecting:

• Walkie talkies

• Cell phones

• BlackBerrys

• Rented computer equipment

• Keys

• Parking cards and/or passes

Now that filming has been completed, everyone — Production, Accounting and each department head — needs to double-check all of their active purchase orders, making sure that all rentals are returned in a timely manner — with the emphasis on “returned.”

I strongly suggest using the Equipment Rental Log form (found in Chapter 6) to help track returns. Along the same lines, make sure that you’re given a receipt for all rental items returned by the production or picked up by the vendor, and that all return slips and receipts are kept on file in the Accounting office. (For some reason, they tend to get lost quite easily.) On another show I was involved with, a vendor charged the production for the replacement of an item that three different people swore was returned, but because no one could produce a copy of the return slip, the production was ultimately held liable.

If you discover that items you might need for reshoots or inserts were rented, arrangements should be made to take them off of rental ASAP and to purchase them. If that’s not possible, however, the disposition and location of these items should be detailed in your wrap notes. Some vendors, if asked, might be willing to place an item on hold for a certain length of time—or to at least be willing to notify you if another production wants to rent it before you need it again.

 

SHORT ENDS

Short ends are remaining lengths of unexposed film left over after the exposed section has been cut off. Short ends can be loaded and used for short shots and inserts. Leftovers at the end of a shoot are generally sold and occasionally donated to students and low-budget filmmakers.

If your picture’s been shot on film, you’ll undoubtedly have leftovers. Kodak will sometimes take back unopened cans of film within a fairly short period of time after purchase if what you’re returning has been kept in a cool environment (meaning that it hasn’t been sitting on a hot camera truck for days). Check with your Kodak rep if you think you might have some returnable stock.

I’ll assume that you’ve been keeping track of your film totals throughout the shoot — continuously comparing what’s been purchased minus what’s been used and coming up with the total amount remaining — the reaming part being the number you come up with on paper, which should match the camera loader’s totals on the daily camera reports, which should also match the totals on the daily production reports. Only now, at the end of the shoot, those totals should also match your physical count of all those leftover cans of film the camera loader has dropped off at your office. (Even if the loader hands you an inventory, count it yourself anyway — just to confirm the totals.) If you’ve been keeping track all along, your totals should be in sync with the loader’s totals, and there should be no surprises (like missing film that no one can account for).

If you have some 400-foot lengths or higher, you know you’ve got reshoots or an insert shoot coming up soon and the type of film stock you’ve got is the stock you’re going to need — you might want to save those cans in a secure, cool corner somewhere until needed.

Before you sell or donate your unused film and short ends, you’ll want to prepare an inventory of what you’re selling or giving away. Here’s a simple example of what your inventory might look like:

As they’re the most standard lengths used, list the 1,000and 400-footers first. The (new) denotes unopened (factorysealed) cans that are no longer returnable. And (recan) refers to a full roll of film that was opened but not shot. If you’re planning on selling the remaining stock, once you’ve double-checked your totals and the inventory is prepared, call the companies that buy short ends. Tell them you’re going to e-mail them your inventory and would like a bid. The company with the winning bid should be willing to pick the stock up and hand you a check for the agreed-upon amount at the same time. Note, however, that prices will vary depending on how much (or little) these companies already have in stock and what they think they can sell.

It’s not always mandatory, but I’ve always thought it a good idea to submit a final film reconciliation to Accounting at the end of each show. I also include a copy in the wrap book. Should you want to do the same, there just happens to be a Final Film Reconciliation form at the end of this chapter.

 

WRAPPING BY DEPARTMENT

Here are some suggestions for individual departments.

 

Wardrobe

• If at all possible, hang principal costumes in clear garment bags and in stand-up wardrobe boxes — not E crates. It makes it much easier for the people handling/locating the costumes from that point forward.

• Box hero items separately from nonhero items and label boxes with the appropriate character or actor’s name. Also indicate on each box if the wardrobe contained within is “hero,” “double” or “closet” (which indicates wardrobe purchased for an actor but not photographed).

• Wrap all hero and principal costumes, so they’re placed in a head-to-toe manner (including undergarments, shoes, hats, jewelry, etc.) in the garment bag instead of just lumping all pants together, shirts together, etc.

• The tags pinned to each costume should indicate the character or actor’s name, the items in the bag, the scene number and change number. Even better is a photo of the actor wearing the complete costume attached to the tag hanging from the garment bag.

• Inventories should clearly designate complete outfits by their “change” numbers and correspond to photos in the continuity book.

• Make sure that actor and stunt double costumes can be easily identified/distinguishable.

• A Wardrobe Continuity Book should be turned in to the production executive or line producer upon wrap.

 

Props

• Separate hero items from nonhero items and clearly indicate to which character each set of props belonged.

• In your wrap notes, indicate hero props that came from your prop box or were rented.

 

Set Dressing

• All inventories, boxes and set pieces should indicate/be labeled with the appropriate set and/or the set number. Also include a list of all sets with their corresponding numbers.

• Clearly indicate on the inventory if the set dressing was used or not used.

• For items not used, indicate which set they were intended to be used on.

 

Set Dressing/Construction

• Make sure all glass pieces are crated.

 

Art Department/Construction

• If set models were made and are going to be saved, create an inventory, crate them and label the crates appropriately: (name of the show) (Model #1 of ______) (____________________________________set)

 

Construction

• When it comes to breaking down sets (which you may be doing throughout the shoot), you’ll determine which set pieces might be needed at a later time for additional photography, reshoots or promotional purposes and then make sure there’s ample space to store them once dismantled. Sometimes, a full or good portion of a set is saved, and that’s called a fold and hold. Sometimes just certain walls, door jams and windows are kept, and on occasion, solely paint, wallpaper and carpet samples.

• All inventories of set pieces should indicate/be labeled with the appropriate set and set number.

• As for the sets that need to be dismantled, if you’re going to be seeking outside bids, they should include measures for salvaging and recycling. Lumber and sets can (and should be) be passed on to other productions or donated to theatre companies or organizations such as Habitat for Humanity whenever possible.

 

PACKING

Following are samples of labels for your boxes. Regardless of whether you use something like this, the name of the show and department should be clearly indicated, and all boxes should be sequentially numbered.

FIGURE 29.1 Sample Box Label for Props, Set Dressing, Wardrobe, etc.

FIGURE 29.2

• In addition to a list of contents taped to the outside of the box, some people also tape a copy to the inside flap, which can come in handy if the list on the outside tears.

• Make sure the box numbers and contents match the master inventory list.

• If at all possible, Props and Set Dressing should include a photo of the contents of each box (affixed to the top of the box).

• All large pieces that can’t be boxed should be appropriately labeled or tagged.

 

TO SUBMIT TO YOUR PRODUCTION EXEC OR PARENT COMPANY

• A wrap memo written by the UPM and/or production coordinator that includes all outstanding issues and anything that needs to be followed up on. This would include any outstanding labor issues or grievances, outstanding insurance claims, disputed bills, contractual post production issues, incomplete or special photography requirements, etc.

• All continuity books (Wardrobe, Hair, Makeup, etc.)

• All continuity photos for locations, script, hair, makeup, wardrobe, art department, set dressing, props, transportation, etc. — and as much of this on CD as possible.

• All original artwork, blueprints, drawings and sketches should be packed in protective boxes or tubes and labeled appropriately. And again, transfer as much to CD as you can.

• Production files: use the plastic file boxes with the lids that snap shut if you can. They’re great for keeping out water and insects.

• Arrange files in alphabetical order.

• Don’t include hanging Pendaflex^® folders. (They take up too much room and can be reused.)

• Number all boxes sequentially and include a copy of the box’s contents on the outside as well as on the inside of the box.

• When files are submitted from various departments and individuals, discard duplicates (keeping originals whenever possible).

• You’d be surprised how many people box up unused office supplies and send them in with the production files. First of all, many of those files go right into storage, and what happens is that you end up paying to store boxes (for years sometimes) that shouldn’t be there to begin with while the supplies can be used elsewhere. So sell them or donate them, but don’t pack them up to store with the files.

• Wrap books (see the following section)

• In some cases, leftover office supplies

 

YOUR BASIC WRAP BOOK Returns

Wrap books are generally prepared by production coordinators for the studio/production company, producer(s), director, UPM, production supervisor, coordinator and accountant. The contents of this book are contained within a large three-ring binder (with dividers) or is taken to a printer for binding. It contains the final versions of the following (plus any other pertinent information you might want to include):

• The budget (the coordinator’s book may not contain a budget)

• A complete set of call sheets and production reports (on CD)

• The inventory of production files

• Final continuity report and photos

• Final cast list

• Final crew list

• Final contact list

• Final clearance report

• Final product placement report

• Final location list, location contact list and maps

• Final shooting schedule and one-liner

• Final day-out-of-days

• Final script with all change pages

• Final film reconciliation that includes the disposition of short ends If applicable, copies of all DGA and SAG reports

• Each department’s inventory list, along with the Accounting asset list, with notes indicating which items have been sold, lost, destroyed or stored

Besides the hard copies of everything in the book, put as much of this information on CD or a flash drive as possible. Also, if the production coordinator is handing over a wrap book to a fairly new/ inexperienced producer, he or she would be well-served to go through it with the producer, pointing out what’s there should the information be needed at a later date.

 

WRAP CHECKLIST

 

Legal

All contracts, agreements and releases have been signed, countersigned and returned, and copies are distributed and filed appropriately.

 

Locations

All signed location agreements have been returned, copies distributed and filed.

All practical locations have been thoroughly wrapped, cleaned and restored to original (or better than original) condition, and the owners have signed a Location Release form.

All location files and hero photos have been submitted.

 

Returns

All rentals:

Equipment

Vehicles

Walkie-talkies

Cell Phones/Blackberrys

Props

Set dressing

Wardrobe

Greens

Flats/cycs/backdrops

Computer equipment

Wireless communication systems

Unopened/unused supplies and expendables that some vendors will take back for a refund or credit

Factory-sealed/unopened cans of Kodak film that may be returnable

Safety manuals back to the Safety Department

All blank accounting forms, start packets, time cards, etc. back to Accounting

 

Paperwork

All final call sheets and production reports, signed and distributed (hard copies for those who prefer and on CD for everyone else)

Final cast list

Final crew and staff list

Final script with all change pages

Final shooting schedule

Final day-out-of-days

Final location list

Final contact list

Prepare wrap books

Collect files from the art department, location department, producer’s assistant, UPM, production supervisor and coordinator and discard duplicates (keeping originals whenever possible).

Organize and pack up production files

Tentative screen credits

 

Assets

Collect all asset inventories

Balance raw stock inventory, match totals to assistant cameraman’s records; account for differences, if any

Pull items required for reshoots, added scenes, inserts, promotional purposes and/or archives

 

Sell, Store, Donate, Place on Consignment, Trade for Rental Credit

Short ends ¨ Props ¨ Set dressing ¨ Wardrobe ¨ Set pieces — walls, windows, doorways, etc.

Unused expendables

Electronics

Fans/heaters

Coffee makers/toaster oven

Tools/lumber/building supplies

Office supplies, furniture, lamps, etc.

Arrange storage of assets not sold, if company doesn’t already have storage facilities

 

Items You’re Selling

Prepare a list of items for sale (with prices). This list goes to the producer(s), director and production executives first, as they usually have first dibs on the items being sold. Often, arrangements are made in advance for cast members to buy (or to be given) articles of their wardrobe, select props or set dressing pieces they’ve expressed an interest in (only if or until these items are no longer needed). Remaining items (with price tags) are often displayed in an open area (stage or large office) where staff and crew members can shop. Make sure to let everyone know in advance when these items will be available to look at and buy. Select one person (production coordinator or someone in Accounting) to be responsible for keeping tabs on what is being sold and for collecting the money.

 

Insurance

Submit all insurance claims not previously submitted.

Submit a log of all pending and unsettled claims (along with any corresponding documentation).

 

Guild-Related

All SAG contracts have been countersigned, returned, distributed and filed.

Submit final Production Time Reports (Exhibit Gs) to SAG.

Submit final Casting Data Reports to SAG.

Submit final Cast List to SAG.

Verify that all DGA deal memos have been signed, submitted and distributed.

Make sure DGA Weekly Work Sheets have been submitted.

Submit final DGA Employment Data Report.

Final DGA and WGA screen credit approvals. Note: SAG requires submission of final screen credits and music cue sheets at the completion of post production.

 

Environmental Concerns

Make sure that everything and anything that can be recycled is handled properly.

Talk to your department heads and coordinate the proper removal of hazardous waste (paints, solvents, explosive materials, etc.).

 

Turn Over to Post Production

Script supervisor’s final notes

Script supervisor’s final script

Continuity photos

Final cast list

Final camera reports and sound reports

First draft of screen credits — main titles and end credits (including all credits based on contractual obligations and union and guild regulations)

 

Accounting-Related

Make sure all final time cards are submitted.

Collect all refundable deposits.

Close accounts and ask vendors to submit final invoices.

Submit all L&D charges.

Have all outstanding invoices approved and paid.

Send out forwarding address notices.

Collect outstanding petty cash.

Prepare a 1099 list.

Prepare a final vendor list (in alphabetical order).

Prepare a final budget.

Prepare a final cost report.

Prepare notes regarding all pending issues for the post production accountant.

Turn all files over to the post production accountant.

 

Closing the Production Office (and any other space the production may be occupying)

Submit change-of-address form to post office (if necessary).

Submit forwarding phone number to phone company (if necessary).

Return office furniture.

Return all office equipment.

Return any kitchen items such as a refrigerator, toaster oven, microwave, coffee maker, etc.

Alert your telecommunications department and/or IT people to pull all necessary equipment.

Disconnect phones and utilities.

Cancel bottled water/coffee service.

Pack remaining forms and supplies.

Remove all signs you’ve posted around the outside of the office and parking lot.

Make sure all drawers, shelves and cabinets are emptied and calendars and artwork are removed from the walls.

Have office cleaned well and any necessary repairs made to qualify for reimbursement of your security deposit.

 

Before You Walk Out the Door

Send out special thank-you notes to those whose contributions meant the most to you during production.

Prepare a detailed memo for the production executive summarizing all ongoing or pending issues (anything that might come up) and the status of each.

Send files to the studio/production company.

Conduct a final walk-through of the office with the property manager before turning over the keys and parking cards.

 

The Final Production Book

A Final Production Book should be prepared by the studio or parent company after the completion of post production. The contents generally take up two three-ring binders. This book condenses enough basic information to hopefully alleviate the need to dig through file boxes searching for information when issues arise long after the show has been completed. These books include:

• Corporate (signatory papers) information

• Bank information (bank, contact, account number, copy of signature cards, etc.)

• Bank reconciliation

• Trial balance

• Final budget

• Final cost report

• Cast list and final SAG cast list

• Chart-of-accounts and vendor list

• Contact list (local and location)

• Final staff and crew list

• Crew deal memos

• Location list (including dates and deals)

• Call sheets

• Production reports

• Final shooting schedule

• Final day-out-of-days

• Key correspondence

• Copies of major deals

• Copies of signed union and guild contract

• Information on insurance claims

• Final script

• Dates of delivery and delivery requirements

• Inventory logs and location of inventories

I’d like to acknowledge Randall Thropp for all he’s taught me about wrapping a show. There’s no one I’d rather wrap a show with.

 

FORMS IN THIS CHAPTER

• Departmental Wrap Schedule

• Final Film Reconciliation Form

• L&D Report Form

• Master Inventory Form

• Purchase Agreement

 

PURCHASE AGREEMENT

By accepting the Items, Purchaser agrees to all of the terms and conditions as stipulated in this agreement.

1. Purchaser agrees that the Items sold to Purchaser is/are on an “AS IS” basis and condition. Seller makes no representations or warranties regarding the Item(s) or that the Item(s) is/are in compliance with any applicable city, state or federal laws or code, including, without limitation, with respect to the Items’ fitness for a particular purpose, physical condition, usability, merchantability, or any warranties imposed by law, whether now known or hereafter enacted, and any such representations and warranties, express or implied, are hereby expressly disclaimed. Purchaser is aware of actual and/or potential damage to any Item(s) prior to entering into this agreement and Purchaser agrees to assume all risks associated with the Item(s), including, without limitation, any patent or latent defects or consequential damages Purchaser may suffer as a result of the ownership of the Items. Purchaser shall indemnify Seller from any and all sales or use taxes that may be levied as a result of this transaction.

2. Purchaser hereby releases Seller and its successors, assigns, parent and affiliated companies from any and all present or future claims and damages in connection with Purchaser’s purchase and/or use of Item(s).

3. Purchaser shall defend, indemnify and hold Seller and its successors, assigns, parent and affiliated companies harmless from all claims, liabilities, damages and costs (including reasonable legal fees and court costs) arising from any injury to or death of any person, or any loss or destruction of or damage to any property, caused by or attributable to the Items, whether or not caused by Seller’s negligence.

4. If Purchaser sells or assigns the Item(s) at any time, the Item(s) may not be advertised as in any way related to the Picture, the Picture’s cast or crew, or Seller or its successors or assigns.

5. Purchaser agrees to remove or fully cover any logos or identifiable references to the Picture, the Picture’s cast or crew, or Seller or its successors or assigns that may appear on the Items no later than ten (10) business days herefrom.

6. In the event Seller desires to photograph retakes or other scenes or in the event of damaged or imperfect film or equipment, Seller shall have the right to use the Items (without additional charge) for such period as may be reasonably necessary therefor, commencing at any mutually agreed upon time. Accordingly, Purchaser shall make no modification(s) to the Items until after the U. S. general theatrical release of the Picture.

7. Notwithstanding any remedy to which Purchaser may become entitled in equity or at law, Purchaser hereby waives any right it may have to enjoin or seek to enjoin the development, production, exhibition, promotion and/or distribution of the Picture.

8. This agreement constitutes the entire agreement between the parties hereto and may be amended only by written agreement executed by all of the parties.

Seller is not transferring any copyright, trademark or other intellectual property right from the Seller or Picture or its successors or assigns in the Items to Purchaser, all of which are specifically reserved.