THE PRODUCTION MANAGER AND THE BUSINESS OF FILM

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Kelompok 1
Nama : Imelda T W Hura
Iis Dahlia Sagala
Risa Dui Sitorus
Pamelinda Banjarnahor
A.THE PRODUCTION MANAGER
1.The production Manager’s job
Production managers are responsible for the technical management, supervision and
control of industrial production processes.Production Managers organize the business, finance
and employment issues in film and television productions. As a Production Manager, you would
be in charge of how the production budget is spent and making sure that everything runs
smoothly during filming.
Before production begins, your work would involve:
1. Meeting the producer and other senior production staff to examine scripts or program
ideas
2. Drawing up a shooting schedule and estimating cost
3. Hiring crews and contractors, and negotiating rates of pay
4. Negotiating costs and approving the booking of resources, equipment and suppliers
5. Overseeing location bookings and arranging any necessary permissions and risk
assessments
 During filming, duties include:
1.Making sure that the production runs to schedule, and reporting to the producer on
progress
2.Managing the production schedule and budget
3.Managing the production team
4.Dealing with any problems
5.Making sure that insurance, health and safety rules, copyright laws and union agreements
are followed.

2.The Process of Production Management

To become a Production Manager you will need substantial experience in TV or film, in-depth
understanding of the production process, and a network of contacts in the industry. Experience
and track record is more important than formal qualifications, however, you may find it helpful
to take a course that includes practical skills, work placements and the chance to make contacts.
You will need a good understanding of budget management, so skills and qualifications in
accountancy are useful.

You could work your way up through the industry to become a Production Manager in various
ways. For example you could start as a runner or an assistant or secretary in the production
office, and progress to production coordinator then assistant production manager. You might also
start as a trainee production accountant. Alternatively, you could progress from runner to 3rd
assistant director then 2nd and 1st assistant director, or to assistant TV floor manager then floor
manager or location manager
If your ultimate goal is to become a producer—for theatrical motion pictures, commercials,
music videos, corporate image films, documentaries, or TV—you will probably proceed through
the levels of production management, from assistant director to production manager to
independent producer. To do a thorough and creative job as a producer, it is wise to get as much
experience as possible guiding a production from conception through to final screening. The best
way to do this is through hands-on, detail-oriented, nittygritty production work on the set and in
the production office. The production manager is one of the few people working on a production
who is involved from beginning to end. Few others know and are responsible for as many details
about the production. The knowledge you gain as a production manager will be invaluable when
you achieve the title of producer. It will give you the power and authority to seize control of the
production; through personal experience, you will know the limits of what can be done. As a
producer, your creative ambitions will be set free. You will decide on story ideas, developments,
and creative aspects of the screenplay; you will make choices in casting and all other artistic
aspects of production; and you will be fully responsible for making your vision a reality.

3. Practical Tips
Making a short film is a big step for any budding filmmaker. And thankfully, things have never
been easier. Affordable high-quality gear, a ready-made internet audience, and more film
festivals than you can shake a stick at mean that not only can you only make a great short film on
a budget, but you also have endless opportunities to screen it, receive feedback and get better.
So if you are keen to learn then there is no better way to do it than get out there and get shooting!
 On Script
Scripts are generally where the excitement begins.The script for your short film is the most
important thing to get right, but unfortunately it is all too often the most neglected, so put the
camera down for now and reach for the keyboard.
You can have bought all the best gear, have sourced wonderful actors, and painstakingly
researched locations, but things will be so much easier down the line if you have put some love
into your script from the start.
Focus on writing a story that you can tell in under 5 minutes and keep it simple.
Think about your characters and what they want, look over some examples of scripts you like
and how they build a narrative, and when it comes to dialogue, remember that less is definitely
more.

 Gear Up
If you are looking to buy some new gear; a cheap tripod, sound recorder, lights, software to edit
your footage with, and of course some sort of camera, are the basic kit that will do everything
you need.
Having said that, investing in professional gear is not the be all and end all, and is almost
definitely not going to be the difference between making a “good”  and “bad” short film.
Particularly when you’re starting to make a short film, the importance of practice can’t be
overstated. Don’t let worries about having the all the right gear hold you back. You can
shoot great footage armed with nothing more than your smartphone. And if you don’t believe it,
check out this video on the making of Romance in New York City, which was shot entirely on an
iPhone.
 Keep it Simple
Start with smaller projects and focus on telling a well-planned, simple story using the resources
you know you have at your disposal.
Try to avoid the trap of being too ambitious too soon.
Writing your film for a realistic location and cast members always helps. Don't be afraid to ask
friends for favours when it comes to finding a location, or putting you in touch with actors. It can
often be a good way to keep things simple, and keep costs down.
Most great short films focus on the journey of just one character, so don’t feel like you need to
tackle multiple characters and plot-lines. It's much better to take on something manageable that
you can get finished.
 On Screen
If you’re serious about getting better, then definitely screen your films to friends and family. You
will learn so much about your work from their reactions, good, bad, or indifferent.
The thought of sharing something you’ve put time and effort into can be daunting at first,
particularly if you are still just learning, but it is an essential part of the process of improving,
and you’ll be surprised how useful it can be.
Screening your film will also give you an end point to focus on and help you get things finished
if you have a tendency to constantly rework your edit. Finish the film, share it, and then move
on.

 Get it Out There

There are so many independent film festivals out there that accept short film submissions, that
the possibilities for distributing your film are basically endless: it really has never been easier to
get your film seen and critiqued by a discerning audience.
Even if you don’t feel ready to submit your work in this way, then put your film on YouTube and
see how it plays out with an audience. It will help you improve and get your name out there.
Being bold and sharing your work not only means your film gets seen (which is what it's all
about!) it can lead to all sorts of other opportunities you might not have imagined. Go for it!
We hope you found the article useful and the best way of making films really is getting out there
and practicing.

B.The Business of Film

1.Development
The production manager is usually spared the most nerve-racking and frustrating phase of
all: development. In this phase, the producer conceives an idea for a movie, develops it into a
presentable package and tries to raise production funds to get the project into preproduction. To
put it bluntly, filmmaking is all about business and earning potentially vast amounts of money.
This statement might sound harsh and cynical to a novice filmmaker, but it accurately reflects the
dealings and philosophy of the entertainment business. The development process sounds simple,
but let’s take a closer look. First, the producer searches for material that can be turned into a
successful (that is, financially successful) motion picture. Inspiration might come from an
original screenplay, novel, stage play, short story, book, periodical, real-life story, pop song, or
another motion picture. Regardless of its source, the producer must acquire or option the rights to
it before making the movie. If an intellectual property is being optioned it means that there is
usually a certain time limit (mostly one year with the possibility of a prolongation for another 12
months) during which time the producer must be ready to pay the full amount of the previously
agreed-upon full price. This does not necessarily mean the producer must get shooting, but it
means he has to purchase the property completely.

2.Preproduction
In filmmaking and video production, pre-production formally begins once a project has been
greenlit. At this stage, finalizing preparations for production go into effect. Financing will
generally be confirmed and many of the key elements such as principal cast members, director
and cinematographer are set. By the end of pre-production, the screenplay is usually finalized
and satisfactory to all the financiers and other stakeholders.
During pre-production, the script is broken down into individual scenes with storyboards and all
the locations, props, cast members, costumes, special effects and visual effects are identified. An
extremely detailed shooting schedule is produced and arrangements are made for the necessary
elements to be available to the film-makers at the appropriate times. Sets are constructed, the
crew is hired, financial arrangements are put in place and a start date for the beginning of
principal photography is set. At some point in pre-production there will be a read-through of the
script which is usually attended by all cast members with speaking parts, the director, all heads
of departments, financiers, producers, and publicists.
This includes screenplay breakdown, shooting schedule, location scouting, budget, casting and
unions, permits, hiring staff and crew, unit supervision, permit clearance, equipment rental and
stock, lab supervision, payroll service, insurance, postproduction preparation, and so on.

3.Production (Principal Photography)

The production stage is when the actual practical film production work begins. The primary aim
is to stick to the budget and schedule, which requires constant attentiveness. The film director
works with the cast and crew to ensure that everything goes as planned. Communication is key
between all the involved parties.
Production involves the actual shooting, which, on average, takes eight weeks. The
director and actors rtehearse on the set. The director chooses the camera angles to be used for
each shot. The director of photography works with the "gaffer," or chief lighting person, to select
and position lighting instruments, which "grips" help to rig. The location sound mixer operates
the audio recording machine and works with a boom operator. The boom operator positions the
microphone close to the actors while being careful to keep the microphone out of the picture.
At the start of each shot, the camera operator films a slate, which is a board that has digital
numbers that allow every frame of film to be uniquely identified at twenty-four frames per
second. When the hinged bar on the slate is closed, the number advance stops briefly. The audio
recorder, on an inaudible track, records corresponding numerical information. When the assistant
editor synchronizes the sound to the picture, he or she locates the frame with the first frozen slate
number, and the tape player automatically locates the portion of sound tape with the matching
numbers. The picture and sound remain in synchronization to the end of the shot. This process is
repeated for each shot, and thousands of shots are filmed before the completion of a film.
Usually, a shot is filmed more than once to improve on either a technical element or the
performance. For each shot, the script supervisor notes the lens that is used, details of the camera
and actor movement, time length of the take, and comments. He or she also indicates which takes
will be printed at the film laboratory. Once an acceptable take is made, the crew sets up and
rehearses the next shot. Even a simple scene might be covered in four different angles, allowing
for creative choices in the editing process.
At the end of each day, the film and sound are sent to a laboratory for processing, workprinting,
and sound transferring. The production sound, generally recorded on 1/4-inch audiotape, is either
transferred to 35-mm magnetic stock or digitized into a computer for editing. The key
crewmembers then screen the footage of the previous day's shoot. The director assesses
performances and, along with the director of photography, monitors the effectiveness of the
lighting and camera movements. Even when a film is edited digitally (as opposed to the physical
film being edited on a flatbed editor that runs picture and sound in synchronization at the
projection speed of twenty-four frames per second), it is common to have a film workprint made
for the daily screenings, or "dailies."

4.Post Production
An editorial team that includes a picture editor and several assistants and apprentices usually
works from the first day of shooting. Assistants synchronize and prepare dailies. The editor, with
a nonlinear computer system such as Avid, cuts scenes as they are shot. Digital editing requires
that the picture and sound dailies be transferred to videotape, which is then digitized (i.e.,
converted from an analog format to a digital format) for use on a computer. The editor is then
able to organize the selected shots by using the computer keyboard and mouse, rather than
physically cutting and taping together bits of film. While an assembly of the entire film may be
completed within one to two weeks after the principal photography has been finished, it will be
anywhere from two weeks to two months more before the director's cut is ready. If the director
has gone over the allotted time for the production process, an accelerated postproduction
schedule is required.
The production process results in miles of film. Individual shots must be located in minutes. The
filmstrip or the digitized computer image is coded with a set of numbers that identify each of the
millions of frames. A system of organization, which can vary from editing room to editing room,
is used to catalog each of the shots. One method of organization is to enter shot information into
a computer so an editor can locate shots using key words or numbers. The editor spends
countless hours in fine tuning the length of a shot down to an individual frame. The film may go
through various edited versions before a decision is made on which version works the best.
A music editor is hired when the editor's assembly cut is near completion. The music editor helps
devise a temporary musical score based on preexisting music. The music supervisor aids in
selecting source music, such as music emanating from car radios or stereos. A sound mix of
dialogue and temporary music is completed so the film can be shown to preview audiences. A
film can be tested as few as two times or as many as fifteen, with each time employing picture
recuts and other editorial changes.
Once recuts are complete, a supervising sound editor oversees a team of sound recordists,
editors, and a composer. The supervising sound editor, along with each specialty editor, spots the
appropriate tracks to determine where and when sound is to be added or altered.
Automated dialogue replacement (ADR) editors focus on the clarity of each word of dialogue.
Despite judicious microphone selection and placement, sound elements such as air traffic may
preclude quality recordings. The ADR process may also include adding or changing lines. To re-
record lines, the actor watches the picture while listening over headphones to the original
production recording. After rehearsal, the actor performs the lines, usually one or two at a time,
while watching the picture. The re-recorded lines, known as loop lines, are meticulously edited
to fit the mouth movements on the picture, often by trimming out pauses or sections of words.
Dialogue editors split the dialogue of various characters to multiple tracks based on the
microphone placement that was used in the original recording. The dialogue editor also splits off
the tracks to be replaced with ADR. The creation of separate dialogue tracks gives the re-
recording mixer control over sound balance.
Some films, such as horror, action adventure, and science fiction, employ a sound designer (as
the head of the sound team) to design certain effects and to guide the editors to deliver a
consistent sound. Many sound effects libraries exist, some specializing in items such as different
types of doors opening and closing. When unable to find an appropriate prerecorded sound,
sound designers often create their own effect. The sound of a rocket ship might be created by
combining the sounds of various home appliances altered by manipulating speed, reverberation,
backward play, and equalization. The foley artist creates sound effects such as footsteps and
clothes rustling by actually walking or rustling material while watching the picture, in order to
time the effects precisely. These effects are later edited to synchronize perfectly with the picture.
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The music editor prepares a music cue sheet for each section of planned music, noting the time
of every cut, the dialogue, and significant action, since composed music often must accentuate
specific moments in the film. On a feature film, a composer often has only two to four weeks to
write forty-five to one hundred minutes of score. The composer writes music in synchronization
with the picture, and the music is recorded that way, often by a full symphony orchestra. While
some films use much original music, others use previously recorded music. Use of preexisting
music must be cleared for copyright permission. On smaller films, the composer, using home
studio equipment, might also perform a full score. The music is matched to the picture and edited
by the music editor.
Frequently, while all the sound editing is going on, the director and editor make a change in the
picture. Such a change requires all of the other editors to make conformations, or changes, in
their working copies and to reedit their sound tracks. When the sound tracks are completed, the
film goes to the mixing studio where, depending on local union regulations, one or more re-
recording engineers sit at a huge multichannel audio console and mix the hundred or so tracks.
The mix can take several weeks to complete.
A negative matcher retrieves the hundreds of rolls of camera original film and cuts it to match
the final edited version of the film. The film laboratory takes the matched camera original and
adjusts the color and brightness of each shot. The laboratory then makes a master from which
hundreds of film prints are struck.
The extent of theatrical release depends on the distribution budget and the anticipated audience-
drawing power of the film. Additional sources of revenue include home video, product
placement, merchandising, and foreign distribution. Sometimes, the sales of film-inspired toys or
soundtracks can generate more revenue than the film itself.