Now that you have broken down your script, determined a budget for your production, and have started to put your key players together, you need to have a base of operations. That base is the production office. The production office is the hub of communication and operations during pre-production and a source of support during production. Setting up and running a production may seem daunting with all that needs to be done but, if organized well, can result in a smooth-running office.
There are two kinds of production offices. One may exist wherever your production company is located. If you are shooting in the same vicinity/city as your production company, this office will remain your base of operations. The second office is the one you may need on location. If you are shooting at a distant location from where your production company is, then you need to set up a temporary production office. This chapter will deal with this kind of office. A temporary production office on location is mainly used for feature films. You may still need a small production office area if you are working in documentary or producing live events. These types of productions may not need as many offices or services, but the concept is still the same. You need a place to operate from.
Either the producer or UPM determines the location of the office. First, he determines exactly in what city the film will be shooting. Once that is decided, the UPM will research different hotels. Hotels are one of the best choices for your production office because you can also house your crew in the hotel, diminishing the need to transport your crew around the city. Not just any hotel will do. Following is a list of services and amenities that are needed in a hotel to house a production coming into town for an extended period of time (anywhere from one month to a year!).
The hotel must be able to set aside blocks of rooms that will accommodate your crew size. Having blocks assures that you’ll be able to get a room at any time. Remember, not all of your crew will be arriving at your location at the same time. As crew and actors arrive in pre-production, and as others arrive during production, you need the ability to secure their hotel rooms.
Ample office space is imperative. One standard is that almost all of your key personnel get their own offices. You can count on an additional five to six offices for other personnel. The point here is to make sure you have enough offices within one office space so that your crew has ample space in which to work.
Because working in a production office, especially in pre-production, leaves little time for taking lunch, most people eat and work at their desks. Having restaurants close by for either delivery or pickup makes sense.
Since you will be transporting cast, crew, some equipment, and possibly dailies to and from the airport, it is better to be close to an airport. This may not always be possible, depending on where you are shooting and where your main sets/locations are, but try not to be too far from the airport.
You will find that your shooting days can range from all-day to all-night. Sometimes your crew may finish at four o’clock in the morning. Having twenty-four-hour room service so the crew can get a bite to eat after a long day’s shooting is important. It is also important for any days off, when crew members who do not have their own transportation need to eat. Obviously, a good restaurant or two inside the hotel is also preferable.
Most of your crew is fine staying in a standard hotel room. However, some actors may require more upscale lodging. Often hotels have larger rooms, suites, or even presidential suites that can accommodate this need. Your director, director of photography, and/or production designer may also require nicer hotel rooms. The determination of who gets what kind of room may be generated by the producer, by an actor or crew’s request, or may even be contractual. The key is to make sure that the proper type of room is communicated to your APOC, who will be booking the rooms.
This is a nice item for crew and cast, who’d rather not have to leave their rooms every time they want a drink or snack. If the hotel does not provide these, you can often make a deal with the hotel to bring in small refrigerators from a rental company. It is your decision whether you want to pay for them or have individual crew and cast who want them order and pay for their own.
On a location shoot you need several kinds of parking. There’s parking for production vehicles (this is covered in Chapter 16), crew, cast, and visitors. Some of your crew may be hired locally, meaning that they live in the city where you are shooting. Local crew, since they most likely have their own transportation, will need a place to park when they come into the office. Some of your distant crew need and should be provided with rental vehicles. They will need parking near the office. Sometimes hotels have ample parking right at the building. However, if your hotel is in a downtown area, you may need to rent spaces in a parking structure.
Ideally, your hotel/production office would be close to your locations. This cuts down on travel time to the set for crew and cast. Again, this may not always be possible when shooting in remote or exotic locations, but it is ideal.
Just about all hotels have laundry service, and everyone knows how expensive it can be. Hire a local laundry service to come to your office twice a week to pick up and deliver laundry. The laundries can give you bags to disburse to the crew. Usually the crew will turn over their laundry, labeled, to the receptionist, who will later turn it over to the laundry service and then disburse it when it comes back.
Surprisingly some hotels still do not have free Wi-Fi for all their guests. This is very important for film people who constantly are trying to make connections, checking email and social media daily.
Once the office is located, the next step is setting it up, making it a workable space specific to production. The first step is to assign offices to specific departments or crew. The higher the budget, the more offices and personnel you will have. Lower-budget projects may not be able to afford any office space. This is where the producer needs to be creative. Making a film or show without a base of operations will only lead to disorganization, miscommunication, and a lack of cohesiveness for the crew. If expense is a concern, a single hotel room can double as a production office. This is common in field shooting where small crews of two to three people are in a location for only a short time.
Certain personnel have the biggest, nicest offices. These are the producer, director, UPM, production supervisor, and VIPs. The VIP office is reserved for important visitors such as the executive producer or occasional studio executive. The POC and APOC usually get the biggest space in a central area because they are the hub of coordination and information for the crew.
The following also need offices: locations, the assistant directors, production designer, director of photography, art director, props, wardrobe, accounting (two), editors (if on location with you), transportation coordinator and captain, grip and electric, and sometimes extras casting. If you are casting extras at the production office, it is wise to place this office outside and away from the other offices. This way you avoid the occasional nosy extra who wants to get his script to the producer.
Other rooms are needed for various situations, such as a room to watch dailies, and a break room with coffee, refrigerator, and so forth. The main entrance area should be reserved with a space for the receptionist to screen people and answer phones.
Making the office operational involves ordering the following services and equipment:
The POC or APOC opens or closes the office daily. The office should be opened at least a half hour before call time. Following is a list of various events that will take place throughout the day in the office:
Once you have all the above measures in place, you would think the office could just run itself, but not so. For a production office to run smoothly, a lot more needs to be considered. For instance, the quality of the support team. Hiring great office PAs is crucial. There are a thousand details you will attend to each day, and you can’t be mired down by updating crew lists and distribution logs. The number one quality of anyone in a production office is resourcefulness. Production can throw a million different problems at you, and it’s up to you and your team to figure out a solution. The crew needs to feel they can come to the office with any problem and get help. It doesn’t matter if you’ve never hired a snowmaker before. Make some calls; get it done. Finally, the morale of the production office is also important. If your team members stress out during busy times, whine in down times, or just plain don’t get along, it will affect the crew. Handle conflicts as soon as they arise, and help people who have stress issues. If the production office runs smoothly, the crew and the producer will be appreciative (which ultimately leads to more jobs!).
The meet-and-greet is a party given immediately before the beginning of principal photography. The purpose of the party is for crew and cast to meet one another before working together on set. The POC or APOC coordinates this party, arranging for a venue, usually a restaurant. He or she also informs all cast and crew of the time and location. The meet-and-greet may be paid for by the producer or may be part of the production budget. You will most likely not have a meet-and-greet on lower-budget films, merely because you cannot afford it.
The wrap party is the event that marks the finishing of principal photography. It is usually held on or immediately after the last day of shooting. In low budget, the party may simply be on set with some light refreshments. On a higher-budget production, the party may be at an expensive restaurant with a full gourmet meal and a band. Sometimes the party will simply be a time when everyone gets together and discusses how tired they are. Sometimes the party has a little more structure. The director or producer may wish to make a short speech, thanking the cast and crew for their hard work. Some wrap parties may feature projection of behind-the-scenes footage for the cast and crew to enjoy. Since there is very little time on a set for socializing, the wrap party also serves as a networking opportunity for crew looking for their next job.
Once principal photography is completed, the production enters a period called wrap. This is when the production office works on getting all cast, crew, and equipment back to their original places. All local accounts are closed out, and a final credit list is prepared. At this time the POC also prepares a final cast and crew list. The final crew list is distributed to the entire crew and is valuable to them for networking. Finally, the last person in the office, usually the APOC, makes sure the offices are left clean and in order, and that the hotel rooms are all left in good order.
A few lists are integral to the smooth running of a production office. The crew, contact, and cast lists provide all personnel with contact information (see Figures 5.2–5.4). These lists are created by the coordinators and distributed by the office PAs.
Setting up a production office involves first finding the right location with the right amount of space, one that can meet the specific needs of a production. The process is involved, including assigning offices and ordering a variety of furniture, equipment, and services. Production files must be set up. Crew packets need to be prepared for incoming crew. The meet-and-greet must be coordinated. Crew and cast begin to travel to and from the location. The “big” production meeting needs to be scheduled and coordinated. The production office becomes the essential hub of a project, where crew and cast find support and essential information.
3.22.181.154