Film and Video Budgets 6

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R YA N
PERFORMING ARTS/FILM AND VIDEO/REFERENCE
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With it you have access to free downloadable Excel spreadsheets for

seven different film formats, from major feature productions to low-budget
student projects. Youll save money and avoid hours of tedious data entry.
The best book on film budgeting for independent film bar none.
Ryan knows this world inside and out. An essential resource.
Jon Reiss, filmmaker; author; media strategist, Hybrid Cinema
This book is a true nuts-and-bolts guide to production and should

be a part of any producers library, regardless of experience level.
Jacob Jaffke, producer, In a Valley of Violence, Sleepwalk with Me
Film + Video Budgets is an essential

reference work. Im thrilled to see it updated.
Scott Macaulay, Filmmaker Magazine
Maureen A. Ryan is a New Yorkbased producer

concentrating on feature narrative films and documentaries.
She is co-producer of the Academy Award -winning film,
Man on Wire. Additional screen credits include Project NIM,
The Gates, Bomber and Wisconsin Death Trip.
THE BUDGET PLAN

FOR YOUR NEXT FILM
STARTS HERE!
MICHAEL WIESE PRODUCTIONS | WWW.MWP.COM
Maureen A. Ryan 6th Ed.
As both a producer and a journalist, I view Michael Wieses original Film and Video
Budgets as an essential reference work that has long been on my bookshelf. With so
much having changed in the world of production, Im thrilled to see it updated
especially by Maureen Ryan, who brings a realistic insiders point of view to film
finances and budgets.
Scott Macaulay, editor-in-chief, Filmmaker Magazine; producer,
Forensic Films
The best book on film budgeting for independent film bar none. I have used this
book repeatedly in my classes and I constantly recommend it. Ryan knows this
world inside and out. An essential resource.
Jon Reiss, filmmaker; author; media strategist, Hybrid Cinema
When youre first starting out as a producer you tend to have limited budgets and
will often find it necessary to be something of a one-man-band production team:
equal parts coordinator, manager, line producer, post supervisor, publicist, sales rep,
and of course producer. I wish Ryans book had been available to me when I was
starting out in my career, as the information in here is comprehensive, all-inclusive,
and invaluable. This book is a true nuts-and-bolts guide to production and should
be a part of any producers library, regardless of experience level.
Jacob Jaffke, producer, In a Valley of Violence, Sleepwalk with Me
Ryan has a knack for making budgets easy to understand. This book simplifies and
educates you on creating your most powerful funding tool.
Carole Dean, author, The Art of Film Funding; creator, Roy Dean Film
Grants
What every producer has always wanted, all in one place. Accessible and comprehensive, Ryans book walks you through each budget, and with online templates
that are easy to use, Film and Video Budgets is an essential tool for any production.
Chandra C. Silver, producer, Silver Lining Film Group
Sound budgeting is the foundation on which to build any film production, regardless of size and scope. It provides a framework to explore creative decisions with a
production mindset. This book breaks down the fundamental components of building a realistic budget . . . essential to the skill set of todays producer.
Veronica Nickel, producer, Stand Clear of the Closing Doors and Dead
Mans Burden
This is it! Its one of the few books anyone working in film production should have
on their desk to quickly and constantly reference. This new edition, a budgeting
bible, is as concise, complete, fun, and easy-to-read as ever. Its an updated version
that answers many of the doubts that come up as a consequence of this alwayschanging industry. Make it your own!
Alvaro R. Valente, independent producer
This new edition of Film and Video Budgets is a must-read for every independent
filmmaker. Ryans expertise and insight provide the first-time filmmaker with a
wealth of knowledge far beyond what they could expect to learn on-set. Ryans lifelong commitment to producing creative, on-time, and under-budget films informs
her budgeting and writing. Her prose style matches her producing style: nothing
superfluous, highly effective, and well-informed.
Markus Kirschner, production designer
Maureen Ryan is responsible for every production I have ever made, thanks to her
indispensable Producer to Producer. Like her previous work, Film and Video Budgets
pays for itself over and over again. This business changes every day, but one thing
stays the sameyou need money to make movies. Film and Video Budgets liberates
the artist to focus on her or his creativity, knowing that the biggest hurdle to successful filmmaking has already been cleared.
Jeff Pucillo, producer/video artist, Top of the World, Roots in Water,
Repairs, and Closure
An incredibly practical resource by the finest producer I have ever worked with.
Paul Cotter, writer/director, Bomber
FILM + VIDEO
BUDGETS
6th Edition
Maureen A. Ryan
M I C H A E L
W I E S E
P R O D U C T I O N S
Published by Michael Wiese Productions

12400 Ventura Blvd. #1111
Studio City, CA 91604
(818) 379-8799, (818) 986-3408 (FAX)
[email protected]
www.mwp.com
Cover design: Johnny Ink. www.johnnyink.com
Interior design and layout: William Morosi
Copyeditor: David Wright
Printed by McNaughton & Gunn
Manufactured in the United States of America
Copyright 2015 by Maureen A. Ryan
All rights reserved. No part of this book may be reproduced in any form or by any means without
permission in writing from the author, except for the inclusion of brief quotations in a review.
Library of Congress Cataloging-in-Publication Data
Ryan, Maureen A., 1962Film & video budgets / Maureen A. Ryan. 6th updated edition.
pages cm
Includes bibliographical references and index.
ISBN 978-1-61593-221-4
1. Motion picture industryUnited StatesFinance. 2. Video recordings industryUnited
StatesFinance. I. Title. II. Title: Film and video budgets.
PN1993.5.U6W4915 2015
384.830973dc23
2014040591
Printed on Recycled Stock
TABLE OF CONTENTS
ACKNOWLEDGMENTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . x
INTRODUCTION TO THE 6TH EDITION . . . . . . . . . . . . . xi
HOW TO USE THIS BOOK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xv
1. SETTING UP A PRODUCTION COMPANY . . . . . . . . . . 1
Incorporation 1
Federal ID 2
Business License 2
Bank Account 2
Corporate Taxes 3
Accounting Software 3
Accountant 3
Attorney 4
Employees 4
Becoming a Signatory to Guilds and Unions 5
Bon Voyage 7
2. PRE-PRODUCTION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9
Pre-Production for Fiction Films 9
Pre-Production Checklist 12
Pre-Production for Non-Fiction Films 14
Line Items Checklist 16
Legal 17
Rights Acquisition 18
Option 18
Staff Contracts 18
Music Clearance 19
Fair Use 20
Feature Film Clips 21
Archival Photos and Stock Footage 23
The Budget 24
Negotiations 25
vii
FILM & VIDEO BUDGETS 6TH EDITION
RYAN
Negotiating with Crews 27

Check References 27
Unions 36
Payroll Services 37
Productions for Large Companies 38
Below-the-Line Rates 39
Negotiating for Equipment and Services 39
Production Schedule 40
Cash Flow Schedule 40
Casting 40
Post-Production 42
Booking Post-Production Facilities 43
Completion Bond 44
Insurance 44
Locations 46
Budgets from All Department Heads 48
Art Direction/Production and Set Design 49
Credit Accounts with Vendors 49
Production Forms 49
Purchase Orders 49
Check Requests/Tracking Costs 50
Contact Sheet 50
Conclusion 51
3. DEVELOPMENT/MARKETING . . . . . . . . . . . . . . . . . . . . . . 52
Development
Marketing/Publicity
Film Marketing/Publicity Line Items Costs
Self-Distribution
52
54
56
58
4. HIGH DEFINITION . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Sensors and Pixels 61
Frame Size 61
Aspect Ratios 63
Frame Rate 63
Pull Down 63
Do a Test, Please 64
viii
TABLE OF CONTENTS
Codecs/Compression 65
Bit Depth 66
Camera Sensor and Dynamic Range 67
Look Up Table (LUT) 67
Color Sampling 68
Conclusion 69
5. A MASTER BUDGET, LINE BY LINE. . . . . . . . . . . . . . . . . 71

Above-the-Line and Below-the-Line 72
6. SAMPLE BUDGETS FOR SPECIFIC PROJECTS . . . .196

1)
2)
3)
4)
5)
6)
7)
$1.8 Million Narrative Feature Film Budget 197

$1 Million Documentary Feature Film Budget 223
$625K Narrative Feature Film Budget Template 246
$350K Documentary Feature Film Budget 271
$145K Industrial/Short Documentary Budget 290
$125K Narrative Feature Film Budget 309
$20K Student Short Film Budget 330
APPENDIX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .349
Cost-Saving Ideas 349
Resources 354
Directories 354
Trade Publications 355
Books 356
Software 358
Miscellaneous Resources 358
Trade Associations 358
Budgets for Grants and Donations 362
ABOUT THE AUTHOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365
ix
HOW TO USE THIS BOOK
ont read the whole thing! (Feel better already?) However,

you will need to understand every line item in your budget,
and therefore I recommend that you first read the Line Items in
Chapter 5 to familiarize yourself with the meanings of the budget
items I use in these budgets.
Next, flip directly to the budget template that is closest to the
project you are doing in cost and category. These budgets should get
you 80% or more of the way to determining your own budgets.
If your type of production is not listed, then go through the Line
Items, selecting those items youll use in your production. Most producers exceed their budget because they forget something! Thats
where the information in this book will help. It is very thorough and
should give you the confidence that you are covered.
Another thing: Do not take the numbers that I use as gospel.
These numbers only approximate what things cost. You cant just
take these numbers and plug them into your own budgets. Instead,
research your own production costs. You may find that your line
items may be lower. In addition, you must negotiate (more on this
later) to get the best budget possible. Do not copy the rates in these
budget templates. Sorry, but there are no shortcuts when it comes
to budgeting. You may grumble now, but youll thank me when you
finish your production and still have some money left!
Finally, as the owner of this book, you have the privilege of
downloading free of charge all these budget templates from
the publishers website at wwwmwpcom. Adapt them for your own
use. Make custom templates, add or take away line items, and most
importantly, input your own numbers.
xv
RYAN
To download your free Excel Budget Templates:

1. Go to wwwmwpcom
2. Click on MW Film School.
3. Open the item Sample Budgets/Forms.
4. Download the free Excel Budget Template most appropriate
to your project.
5. Save it to your computer.
6. Remember that these budgets are sample templates. Make
sure to create your own budget with figures based on your
research on current rates and prices available to you.
xvi
1
SETTING UP A
PRODUCTION COMPANY
veryone has to begin at the beginning. If you carefully follow

the advice in this book, these activities will help you get your
own production company up and running. Think of that warm satisfaction that will come over you every morning when you read your
companys name on the door as you enter your office. Hey, we did it!
Were a real company!
For many, starting your own production company may seem
daunting. This chapter will help dissolve that feeling of being overwhelmed. Take things one step at a time and youll get there. Once
its done, youll have a foundation to build on.
INCORPORATION
To incorporate . . . or not to incorporate? Most lawyers will suggest that you incorporate in order to protect your personal assets
from liability.
If you are a United States resident and plan to have thirty-five
or fewer stockholders (or maybe just one stockholder, you), most
accountants will recommend an S Corporation or a Limited Liability
Company (LLC). With an S Corporation or LLC, your company owes
no federal income tax on profit. The profit passes through the company directly to stockholders (that includes you!). The company will
still pay state income tax, which, if you pay out or reinvest all your
profits at year-end, may only be the minimum.
How much does it cost to incorporate? It depends on the state
and on the fees of the attorney or accountant in charge. There are
1
RYAN
also online websites that streamline the process. Youll probably

want your attorney to look it over before you finalize the paperwork.
If you already have an accountant, maybe he or she may be able to
do it for you inexpensively.
If you choose not to incorporate, then its probably a good idea to
establish your company under a trade name other than your own,
known as d/b/a (doing business as). Your accountant can help you
with the application process.
FEDERAL ID
Whether you are incorporated or d/b/a, you still must apply for a
federal ID (or EIN) number, which you need if you plan to pay the
people who work on your projects. The ID number exists to help the
IRS with its accounting. Go to wwwirsgov to apply for a number.
Remember, if you are a sole owner, you are not on the payroll. You
take your salary from company profit, and yes, you do owe federal
tax on your salary.
Every payment you receive will now be written to the corporation
and not to you personally.
BUSINESS LICENSE
Depending on the regulations for your city and state, you may need
to get a business license for your company. Check online for the
requirements if you start a company, a d/b/a, or an LLC.
BANK ACCOUNT
You cannot open a corporate bank account until you have your articles of incorporation (which you prepare before filing for corporation
status), or your Operating Agreement if youre an LLC, and your federal ID number. The bank will require copies of these documents.
For smaller companies, one business checking account should
suffice. Ask if it can be an interest-bearing account, which might help
offset fees banks charge for business accounts.
SETTING UP A PRODUCTION COMPANY
If you have a sizable payroll, you may want to set up a separate payroll account and have a payroll service do the paperwork
and actual payments. For small payrolls, most businesses do
it themselves.
Be sure to go to the bank and introduce yourself to the bank manager, president, or vice president. Get to know them. The day will
come when youll want to borrow money, set up an escrow account,
or employ other services. All this will come much easier if they feel
they know you.
CORPORATE TAXES
Surprise your new business owes the state! Your accountant prepares the state income tax return and calculates what you owe. Some
business structures like S Corporations and some LLCs dont require
you to pay federal corporate income tax.
ACCOUNTING SOFTWARE
In most small companies, people do their own bookkeeping, or hire
a bookkeeper who may come in once a week or more. Production
accountants sometimes use high-powered software such as Vista and
Media Web.
ACCOUNTANT
Your accountant can help you incorporate, give business planning
advice, project a business budget, supply you with W-2 and I-9 tax
payroll forms, and file your corporate and personal tax returns.
Your accountant will become one of your greatest allies. First, he
or she will help you set up your business, making sure you dont miss
any filing or tax deadlines. This is their business. What may be hard
for you is extremely easy for them. They will enjoy their relationship
with a film or video producer because in the same way that numbers
baffle you, movies baffle them!
RYAN
ATTORNEY
Your attorney should be an entertainment attorney, distinct from, for
example, a corporate or real estate attorney. Entertainment attorneys know things the rest of us dont but should like production
contracts, options and rights acquisition, licensing and releases of
every stripe.
Your attorney should be someone whom you know and respect.
Someone who can get things done in the entertainment community.
Even if this costs more (on an hourly basis), you will be way ahead
of the game when you want to do something, whether its closing
an investment deal or getting a distribution contract. In addition, as
you work with your attorney you will gain a great deal of knowledge
yourself that will be of immeasurable benefit over the years.
EMPLOYEES
Even in Hollywood, many incorporated production companies are
made up of no more than one or two people. When you are in production you have many people on salary. When you are developing
your projects you want to have few employees to keep your overhead
costs down.
In the beginning you will probably hire a full-time assistant to
help with the administrative chores, which will be many. As your
business grows, others will be brought on. Heres where you want
to hire the right people for the job. You want people that supplement no, complement your skills. If you are not extremely well
organized, then look for this quality in those you hire. If you are well
organized, then you may want more creative types for those aspects
of your business. Do not hire someone just like you, because your
aim is to balance your company.
Create a fun atmosphere for people to work in and your productivity will soar. Make sure they are free to make contributions to the
projects and credit them appropriately. Giving credit is one of the
easiest (and cheapest) things you can do. Its a way of saying thanks
that goes a long way.
4
BECOMING A SIGNATORY TO GUILDS AND UNIONS

You may or may not have to deal with guilds, but in case you do,
these are the main guilds (see Appendix for addresses): the Writers
Guild of America (WGA), Directors Guild of America (DGA), and
Screen Actors Guild-American Federation of Radio and Television
Artists (SAG-AFTRA).
The prevailing wisdom is that by using guild members, you get
more experienced actors, writers, and directors, and thats mainly
true. On the other hand, it all boils down to who you want to work
with. Guild membership doesnt instantly qualify anyone for anything. You have to meet your prospective collaborators and decide
for yourself.
Technically, guild members are not supposed to work with a
production company that has not signed an agreement with their
guild. A writer, actor, or director may do it anyway, and sometimes
use another name in the credits. Some work non-guild jobs happily,
others do it grudgingly. Still others choose not to work with nonsignatory companies at all. When guild members choose to work on
a non-guild project, make it clear that they do so at their own risk,
not the production companys.
You can be a signatory to one guild/union or many it is up to
the owner of a production company. One producer I know has three
different companies: one a signatory to SAG-AFTRA, one a signatory to SAG-AFTRA and the DGA, and one that is not a signatory to
anything. Why go through that paperwork nightmare? He wants to
avoid dealing with residual payments for certain projects, and avoid
paying the extra expense of pension and health (P&H) that guilds
require usually around 15% to 17% of the members gross salary.
(For really high salaries, like a stars, there is a cutoff beyond which
the company does not have to pay P&H. Check with each guild for
what it is.)
WGA (Writers Guild of America) To become a signatory and
hire WGA writers, your company must be legally structured, as in an
S Corporation (not a d/b/a). Simply call and request the application
5
RYAN
forms. There is no fee to become a signatory. Your company cannot

disengage from signatory status until the current WGA agreement
expires, and these agreements run for about five-year terms. You can
check out the current Minimum Basic Agreement (MBA) online,
as well as other Agreements and Contracts, e.g., Low-Budget and
Standard Theatrical. www.wga.org
SAG-AFTRA (Screen Actors Guild-American Federation of Radio
and Television Artists) The company must be legally structured
(not a d/b/a, although there may be exceptions). There are a number
of contracts companies can sign, depending on what type of programming they produce (e.g., free TV, cable, public TV, new media,
etc.). There is no fee, but a new company may have to provide a bond
to cover payment of actors. Bonds can be in the form of a certified
check, or a letter from a payroll service attesting that money is on
account. Check the respective websites for contracts and/or digests
of agreements. www.sag.org
DGA (Directors Guild of America) The company could be a
d/b/a or incorporated or a partnership. The application requests
information about stockholders and ownership. It asks for documentation, like a copy of the fictitious name statement or articles
of incorporation. In most cases, the company must have a project
lined up in order to become a signatory. They want to know what
the project is, what DGA member functions youll be hiring, where
the financing comes from, and if you have a distributor. Basically,
they want to make sure members will be paid. If the financing looks
shaky, they may ask you to put the DGA money in escrow. For TV
movies and features, they may demand a security agreement that
puts a lien on the film in case you go bankrupt. That way they can
better collect any residuals. There is no fee to sign up. www.dga.org
IATSE The crafts people and technicians who work in television and movies are represented by the International Alliance of
Theatrical and Stage Employees (IATSE), and a host of other locals,
including the Teamsters (the people who drive all the studio trucks
and vans). Because it is so complicated, it can be difficult to get

signatory information.
First of all, if youre a small production company doing very lowbudget projects, you probably wont become a signatory to IATSE
because your budget wont be able to support the salaries and benefits packages. But IATSE now has low-budget agreements so you
should find out if they can work for your production before making
a final decision.
Why become a signatory to IATSE? The theory goes that union
crews (camera operators, sound mixers, grips, electrics, etc.) are more
experienced, hence more efficient. This is usually true although
there are plenty of excellent people who are not union members.
When you hire union crews for scale (some feature productions are over-scale), theres no negotiating; you pay whatever the
going rate is for that job, plus the usual payroll taxes. Plus youll pay
union fringes: Health/Retiree Health and Pension, and Vacation/
Holiday. Check with your local to get all the current rates, rules,
and regulations.
IATSE has local chapters in most major cities in the United
States. To become a signatory, check out wwwiatsenet and contact
the office in your area. They will ask you to fill out a questionnaire.
If you are approved, youre in. For production companies, theres no
fee. If you cant find the right office, call a payroll service (a company that handles union and non-union payroll for production
companies), since these people seem to know a lot about unions.
BON VOYAGE
It may take you a week or two or several months to complete all the
paperwork required to set up your production company as a corporation and become a signatory to some or all of the unions. When
you do set up your first corporation youll find that it isnt as intimidating as you thought, and youll feel empowered.
RYAN
What follows are the nuts and bolts of budgeting; a potpourri

of ideas that will help you think through and prepare your own
production budgets.
The goal is always to come in under budget. This book is designed
to help you become remembered for your remarkable foresight
and ability to deliver a project on time and under budget. Thats
what clients, backers, and employees expect. By careful planning
and researching you can create a very accurate budget before the
cameras roll.
6
SAMPLE BUDGETS FOR
SPECIFIC PROJECTS
irst there are the budget categories the big picture. Then there
are the line items the nitty-gritty details without which we have
no budget at all. The preceding chapter illuminated every category
and line item. In this chapter we can study them in situations that
resemble a real production.
Lets be clear that this chapter is for illustrative purposes only.
These budgets show examples of how producers plan and budget for
real world situations, albeit hypothetical ones. Please do not fall into
the trap of taking a sample budget and applying it to your project
without doing the proper research that will be necessary for any film
you produce. Every project is different and requires its own creative
thinking and budgeting.
The sample budget templates that follow are designed to cover
the most common forms of production that most independent producers will encounter across fiction and non-fiction projects. After
each budget template there will be a Budget Assumptions paragraph
that outlines the context for that particular budgets creation. Then
there is a succinct line-by-line explanation in each category. Refer to
the Master Budget Template in Chapter 5 for an in-depth description
and examples of dollar estimates for each line item as well.
196
SAMPLE BUDGETS FOR SPECIFIC PROJECTS
$1.8 MILLION NARRATIVE FEATURE FILM BUDGET

To download your free Excel budget template:
Go to wwwmwpcom.
Click on MW Film School.
Open the item Sample Budgets/Forms.
Download the corresponding free Excel Budget Template.
Save it to your computer.
Last, this budget is a sample template. Make sure to create your
budget with figures based on your research on current rates
and prices available to you.
Budget Assumptions
The film will be shot in the greater Philadelphia area for 23 days.
They will shoot 5-day weeks so it will be a 4.6-week production for
the filming phase. They are working under the SAG-AFTRA LowBudget agreement and the IATSE Low-Budget agreement (which
IATSE calls Tier 0 because the budget limits are below the Tier 1
agreement). The IATSE Pension Fund (IAP) is 6% of the salary costs
and the Motion Picture Industry Pension Fund (MPIP) is $88/person
per day worked. At this budget level the producers dont anticipate
working under a Teamsters contract for transportation labor but that
will need to be confirmed during Pre-Production.
The director is not DGA so the Assistant Directors and UPM will
not be from that guild. The writer is a WGA member so the scale
purchase price applies. Everyone will be paid through a payroll service so the fringes are generally set at 22%. The day rates are fairly
low but the added Pension and Health costs contribute to the overall
gross salary costs. The producers plan to sell the indie feature after
its premiere at a top film festival.
197
RYAN
$1.8 Million Narrative Feature Budget
SUMMARY BUDGET
Fringe assumptions:
Payroll Tax
22.0%
WGA
17.0%
DGA-No
0.0%
SAG-AFTRA
17.3%
Overtime
10%
Contingency
10%
IAP
6%
MPIP (per day) $88
01-00
02-00
03-00
04-00
05-00
06-00
07-00
Story & Rights

Producers Unit
Direction
Cast
Travel & Living Producers/Director
Travel & Living- Cast
Residuals
08-00
09-00
10-00
11-00
12-00
13-00
14-00
15-00
16-00
17-00
18-00
19-00
20-00
21-00
22-00
23-00
24-00
25-00
26-00
Production Staff
Background Actors/Extras
Sound Stage
Production Design
Set Construction
Set Operations
Special Effects
Set Dressing
Property
Wardrobe
Make-Up and Hair
Electrical
Camera
Production Sound
Transportation
Location Expenses
Picture Vehicles/Animals
Media
Travel and Living-Crew
27-00
28-00
29-00
30-00
31-00
32-00
33-00
34-00
Editorial
Music
Post-Production Sound
Post-Production - Digital and Film
Digital Intermediate
Titling and Graphics
Deliverables
Digital Visual Effects/Animation
Production: $1.8 Million Narrative

Shoot Days: 23 (4.6 5-day weeks)
Location:
Philadelphia, PA
Unions:
SAG-AFTRA Low Budget, IA Tier 0
Shooting Format: Digital HD
Delivery format: HDCam SR
$79,098
$50,000
$25,000
$137,970
$12,850
$7,560
$0
TOTAL ABOVE-THE-LINE
$312,478
$151,857
$59,541
$0
$50,607
$0
$63,985
$6,742
$63,379
$39,514
$53,550
$29,506
$54,701
$118,960
$27,125
$114,298
$183,126
$6,600
$9,000
$0
TOTAL PRODUCTION
$1,032,489
$42,292
$53,000
$35,000
$1,500
$24,750
$5,000
$14,700
$42,250
TOTAL POST-PRODUCTION
35-00 Insurance
36-00 General & Administrative Expenses
37-00 Publicity and Marketing
$218,492
$32,500
$40,900
$0
TOTAL GENERAL
Total Above-the-Line
Total Below-the-Line
Total Above and Below-the-Line
Contingency
$73,400
$312,478
$1,324,381
$1,636,859
$163,686
GRAND TOTAL
$1,800,545
Page 1
198
ABOVE-THE-LINE
Amt.
01-00
01-01
01-02
01-03
01-04
01-05
01-06
01-07
01-08
01-10
Story & Rights

Rights Purchases
Options
Writer Salaries/Screenplay Purchase
Research/Clearances
Title Registration
Script Timing
Storyboards/Pre-Viz
WGA Publication fee
Development
Payroll
WGA
Units
Allow
Allow
1 Allow
1 Allow
Allow
Allow
Allow
1 Allow
Allow
Rate
1
1
1
1
1
1
1
1
1
Sub-Total
45,556
1,875
10,000
0
0
45,556
1,875
0
0
0
10,000
0
55,556
55,556
Total
0
0
45,556
1,875
0
0
0
10,000
0
12,222
9,445
Total for 01-00

02-00
02-01
02-02
02-03
02-04
02-06
02-07
Producers Unit
Executive Producer
Producer
Associate Producer
Assistant to Producer(s)
Consultants
Misc. Expenses - IA Signatory Fee
Payroll - Assumes All in Fee
Allow
1 Allow
Allow
Week(s)
Allow
1 Allow
1
2
1
1
1
1
20,000
10,000
79,098
0
40,000
0
0
0
10,000
40,000
0
40,000
0
0
0
10,000
0
Total for 02-00

03-00 Direction
03-01 Director
03-02 Assistant to Director
Payroll - Assumes All in Fee
DGA
1 Allow
1 Weeks
1
1
25,000
50,000
25,000
0
25,000
25,000
25,000
0
0
0
Total for 03-00

04-00 Cast
04-01 Lead Actors
Actor #1
Rehearsal
Weekly Scale
Overtime (40%)
Actor #2
Rehearsal
Weekly Scale
Overtime (40%)
Actor #3
Rehearsal
Weekly Scale
Overtime (40%)
04-02 Supporting Cast
Actor #1
Weekly Scale
Actor #1
Overtime (40%)
Actor #2
Shoot (includes OT
Actor #3
Shoot (includes OT
Actor #4
Shoot (includes OT
Actor #5
Shoot (includes OT
Actor #6
Shoot (includes OT
Actor #7
Shoot (includes OT
Actor #8
Weekly Scale
4
4
4
4
4
4
hrs.)
hrs.)
hrs.)
hrs.)
hrs.)
hrs.)
25,000
1 Week(s)
4.6 Week(s)
Allow
1 Week(s)
4.6 Week(s)
Allow
1 Week(s)
4.6 Week(s)
Allow
1
1
1
1
1
1
1
1
1
1,752
1,752
9,811
1,752
1,752
9,811
1,752
1,752
9,811
1,752
8,059
3,924
1,752
8,059
3,924
1,752
8,059
3,924
2 Week(s)
Allow
7 Days
6 Days
5 Days
5 Days
3 Days
2 Days
1 Week
1
1
1
1
1
1
1
1
1
1,752
3,504
882
882
882
882
882
882
1,752
3,504
1,402
6,174
5,292
4,410
4,410
2,646
1,764
1,752
41,207
31,354
04-03 Day Players
Actor #9
Shoot
Actor #10
Shoot
Actor #11
Shoot
Actor #12
Shoot
Actor #13
Shoot
Actor #14
Shoot
Actor #15
Shoot
8
8
8
8
8
8
8
hrs.
hrs.
hrs.
hrs.
hrs.
hrs.
hrs.
1
1
1
1
1
1
1
Day(s)
Day(s)
Day(s)
Day(s)
Day(s)
Day(s)
Day(s)
1
1
1
1
1
1
1
Page 2
199
504
504
504
504
504
504
504
504
504
504
504
504
504
504
RYAN
Amt.
Overtime Allowance (40%)
04-04 Casting Director/Staff
04-05 Casting Expenses
04-06 Choreographer
04-07 Assistant(s) to Choreographer
04-08 Dialect Coach
04-09 Narrator/Voiceover Artist
04-10 Stunt Coordinator
04-11 Stunt Players (12 hr.)
Stunt Drivers (12 hr.)
04-12 Stunt Costs/Adjustments
04-13 Stunt Equipment
04-14 ADR (Actors' fees) (4 hrs.)
Payroll
SAG-AFTRA
05-00
05-01
05-02
05-03
05-04
05-05
05-06
05-07
05-08
05-09
Travel & Living Producers/Director

Airfares
Hotel
Taxi/Limo
Auto
Train
Excess Baggage
Phone
Gratuities
Per Diem
1
1
2
2
3
6
1
1
Units
Allow
Allow
Allow
Weeks
Weeks
Weeks
Weeks
Weeks
Days
Days
Allow
Allow
Days
1 RT
2.5 Month
Allow
3 Months
Allow
Allow
Allow
Allow
Days
x
1
1
1
1
1
1
1
1
2
2
1
1
5
2
1
1
1
1
1
1
1
1
Rate
Sub-Total
3,528
1,411
7,500
7,500
500
500
0
0
0
0
3,200
6,400
504
2,016
504
3,024
200
1,200
1,000
1,000
252
1,260
98,900
91,400
Total for 04-00
1,000
3,500
700
2,000
8,750
0
2,100
0
0
0
0
0
Total
4,939
7,500
500
0
0
0
0
6,400
2,016
3,024
1,200
1,000
1,260
21,758
15,812
137,970
2,000
8,750
0
2,100
0
0
0
0
0
Total for 05-00

06-00
06-01
06-02
06-03
06-04
06-05
06-06
06-07
06-08
06-09
Travel & Living- Cast

Airfares
Hotels
Taxi/Limo
Auto
Train
Excess Baggage
Phone
Gratuities
Per Diem
07-00 Residuals
1
26
2
2
RT
Nights
RT
Weeks
Allow
Allow
Allow
Allow
3 Weeks
2
1
2
1
1
1
1
1
1
Allow
500
150
100
500
420
Total for 06-00
Total for 07-00

TOTAL ABOVE-THE -LINE
12,850
1,000
3,900
400
1,000
0
0
0
0
1,260
1,000
3,900
400
1,000
0
0
0
0
1,260
7,560
0
312,478
Page 3
200
Amt.
Units
Rate
Sub-Total
Total
BELOW-THE-LINE
08-00 Production Staff
08-01 Line Producer
Prep/Travel
Shoot
Wrap
Severance
08-02 Assistant Directors
First AD
Prep/Travel
Shoot
Prod. Fee (shoot days)
Severance
Overtime Allow
2nd AD
Prep/Travel
Shoot
Overtime Allow
2nd 2nd AD
Prep
Shoot
08-03 Production Supervisor
Prep/Travel
Shoot
Wrap
Overtime Allow
08-04 Production Coordinator
Prep/Travel
Shoot
Wrap
Ass't Coord.
Prep
Shoot
Wrap
08-05 Script Supervisor
Prep
Shoot
2 -Camera bump
Wrap
2nd Camera Days
Overtime
08-06 Production Accountant
Prep/Travel
Shoot
Wrap
Post-Production(1 day/wk)
Assistant Accountant
Prep/Travel
Shoot
Wrap
08-07 Technical Advisors
08-08 Production Assistants
Office Prod. Assistant(s)
Prep
Shoot
Wrap
Set Prod. Assistant(s)
Prep
Shoot
08-09 Studio Teacher/Tutor
Payroll
DGA
IAP
6 Weeks
4.6 Weeks
2 Weeks
Allow
1
1
1
1
1,250
1,250
1,250
7,500
5,750
2,500
0
15,750
4 Weeks
4.6 Weeks
Days
Allow
Days
1
1
1
1
1
1,000
1,000
4,000
4,600
0
0
0
8,600
5 Days
23 Days
Days
1
1
1
150
175
750
4,025
0
4,775
2 Days
23 Days
1
1
140
160
280
3,680
4 Weeks
4.6 Weeks
2 Weeks
Days
3,960
1
1
1
1
1,000
1,000
1,000
4,000
4,600
2,000
0
10,600
15 Days
23 Days
3 Days
1
1
1
150
150
150
2,250
3,450
450
6,150
10 Days
23 Days
Day
1
1
1
140
140
140
1,400
3,220
0
4,620
2
23
15
1
Days
Days
Days
Days
Days
Allow
1
1
1
1
1
175
175
40
175
5,150
350
4,025
600
175
0
515
5,665
4
4.6
2
12
Weeks
Weeks
Weeks
Weeks
1
1
1
1
1,000
1,000
1,000
250
4,000
4,600
2,000
3,000
13,600
Weeks
Weeks
Weeks
Flat
1
1
1
1
0
0
0
0
0
0
10 Days
23 Days
Days
1
1
1
125
125
1,250
2,875
0
2 Days
23 Days
10 Days
2
5
1
125
125
200
500
14,375
2,000
94,720
43,685
30,035
Page 4
201
19,000
2,000
20,838
0
1,802
RYAN
MPIP
09-00
09-01
09-02
09-03
09-04
09-05
Background Actors/Extras
Stand-ins
Extras-SAG-AFTRA
Extras-Non-Union
Casting Director
Extras Agency Fee @ 10%
Payroll
SAG-AFTRA P&H
Amt.
Units
392 Days
165
50
1
1
Days
Extras
Extras
Allow
Allow
Rate
1
1
1
1
1
Sub-Total
88
Total for 08-00
205
100
2,000
38,825
Total
34,496
151,857
0
33,825
5,000
2,000
3,883
40,825
33,825
0
33,825
5,000
2,000
3,883
8,982
5,852
Total for 09-00

10-00 Sound Stage
10-01 Stage Rental
Prep
Pre-Light
Shoot
Wrap
Overtime
10-02 Stage Lighting Rental
10-03 Stage Grip Rental
10-04 Phones/ Internet
10-05 Garbage removal
10-06 Green Room
10-07 Make Up Room
10-08 Office Rental
10-09 Parking
Allow
Allow
Allow
Allow
Allow
Allow
Allow
Allow
Allow
Allow
Allow
Allow
Allow
Allow
1
1
1
1
1
1
1
1
1
1
1
1
1
1
59,541
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
Total for 10-00

11-00 Production Design
11-01 Production Designer
Prep
Shoot
Wrap
Travel
11-02 Art Director/Set Designer
Prep
Shoot
Wrap
11-03 Art Assistants
Prep
Shoot
Wrap
11-04 Art Coordinator
Prep
Shoot
Wrap
11-07 Signage & Graphics
11-08 Storage
11-09 Product Placement/Clearance Allowance
11-10 Purchases/Rentals
Payroll
IAP
MPIP
12-00 Set Construction

12-01 Construction Coordinator
Prep
12-02 Foreman
Prep
Shoot
Carpenters
12-03 Scenic Painters
4
4.6
1
0.4
Weeks
Weeks
Weeks
Weeks
1
1
1
1
1,000
1,000
1,000
1,000
4,000
4,600
1,000
400
10,000
4 Weeks
4.6 Weeks
0.6 Weeks
1
1
1
875
875
875
3,500
4,025
525
8,050
Days
Days
Weeks
1
1
1
0
0
0
0
0
Days
Days
Days
Allow
Months
Allow
Allow
1
1
1
1
1
1
1
15
23
3
1
4
1
1
137 Days
140
140
140
1,000
150
5,000
1,500
2,100
3,220
420
1,000
600
5,000
1,500
23,790
23,790
88
Total for 11-00
50,607
Days
Days
Days
Allow
1
1
1
0
0
0
Page 5
202
5,740
1,000
600
5,000
1,500
5,234
1,427
12,056
Amt.
Units
Rate
Sub-Total
Total
Lead Scenic Painter

Prep
Shoot
Painters
12-05 Greensmen
Days
Days
Allow
Allow
1
1
1
1
0
0
0
0
0
0
12-06
12-07
12-08
12-09
Allow
Allow
Allow
Allow
1
1
1
1
0
0
0
0
0
0
0
0
0
0
Construction materials - Purchases

Construction materials - Rentals
Construction Equipment
Set Strike
Payroll
Total for 12-00

13-00 Set Operations
13-01 Key Grip
Prep/Scout
Shoot
Wrap
Overtime
13-02 Best Boy Grip/Dolly Grip
Prep
Shoot
Wrap
Overtime
13-03 Grips
3rd Grip
Prep
Shoot
Wrap
Overtime
4th Grip
Prep
Shoot
Wrap
Overtime
Additional Grips
Overtime
13-04 Dolly/Crane Grips
Prep
Shoot
Overtime
13-06 Grip Rentals
Package
Dollies
Cranes (incl. Driver)
Add'l Equip.
13-07 Expendables
13-08 Kit Rentals
Key Grip
Craft Service
13-10 Craft Service
Prep
Shoot
Wrap
Overtime
Purchases
Extras
13-15 Air Conditioning/Heating
Payroll
IAP
MPIP
3 Days
23 Days
1 Days
Allow
1
1
1
1
200
225
200
5,975
600
5,175
200
598
6,573
1 Days
23 Days
1 Days
Allow
1
1
1
1
175
200
175
4,950
175
4,600
175
495
5,445
1 Days
23 Days
Days
Allow
1
1
1
1
125
150
125
3,450
0
358
3,933
Days
23 Days
Days
Allow
Days
Allow
1
1
1
1
1
1
Days
Days
Allow
1
1
1
3,575
125
2,875
16,040
2,300
0
575
5,000
500
6,900
4,140
0
5,000
2,300
Weeks
23 Days
1
1
25
0
575
1 Days
23 Days
Days
Allow
23 Days
1 Allow
Days
1
1
1
1
1
1
1
99 Days
Page 6
203
3,600
275
500
88
Total for 13-00
1
1
1
1
1
150
150
3,163
0
0
0
4.6 Weeks
4.6 Weeks
Days
1 Allow
4.6 Allow
14-00 Special Effects

14-01 Special Effects Person
1,500
900
0
2,875
0
288
0
0
150
3,450
0
360
6,325
500
0
23,073
23,073
3,960
6,325
500
0
5,076
1,384
8,712
63,985
RYAN
Amt.
Prep
Shoot
Overtime
14-02 SFX Assistant(s)
Shoot
Overtime
14-03 Additional Labor
Shoot
Overtime
14-06 Manufacturing Labor
14-07 Fabrication
14-09 Rentals & Purchases
Payroll
IAP
MPIP
15-00 Set Dressing

15-01 Set Decorator
Prep
Shoot
Wrap
Overtime
15-02 Lead Person
Prep/Travel
Shoot
Wrap
Overtime
15-03 Swing Gang/Set Dressers
Set Dresser #1
Prep
Shoot
Wrap
Overtime
Set Dresser #2
Prep
Shoot
Wrap
Overtime
Set Dresser #3
Prep
Shoot
Wrap
Overtime
15-04 Additional Labor
On-Set Dresser (Shoot)
Overtime
15-05 Expendables
15-06 Purchases
15-07 Rentals
15-08 Loss & Damage
15-09 Kit Rentals
Set Decorator
Lead Person
15-10 Vehicle Expenses
Set Decorator
Lead Person
Payroll
IAP
MPIP
Units
1 Days
5 Days
Allow
x
1
1
1
5 Days
Allow
1
1
Days
Allow
Allow
Allow
1 Allow
1
1
1
1
1
11 Days
15 Days
23 Days
2 Days
10 Days
23 Days
3 Days
Rate
Sub-Total
200
200
225
1,125
1,325
133
200
1,000
2,500
2,558
2,558
1
88
Total for 14-00
1
1
1
1
1
1
Total
1,458
1,000
100
1,100
0
0
0
0
2,500
563
153
968
0
0
0
2,500
563
153
968
6,742
175
200
175
7,575
2,625
4,600
350
758
8,333
150
175
150
5,975
1,500
4,025
450
598
6,573
10 Days
23 Days
3 Days
1
1
1
140
140
140
5,040
1,400
3,220
420
504
5,544
10 Days
Days
Days
1
1
1
140
1,400
1,400
0
0
140
1,540
Days
Days
Days
1
1
1
0
0
0
0
0
3,450
345
1,500
8,000
8,000
0
0
115
0
3,795
1,500
8,000
8,000
0
0
115
0
23 Days
1 Allow
1 Allow
1 Allow
Allow
1
1
1
1
4.6 Weeks
Weeks
1
1
Weeks
Weeks
1
1
145 Days
16-00 Property
16-01 Property Master
Page 7
204
150
3,450
1,500
8,000
8,000
25
25,784
25,784
1
88
Total for 15-00
0
0
5,672
1,547
0
0
5,672
1,547
12,760
63,379
16-02
16-03
16-04
16-05
16-06
16-08
Prep
Shoot
Wrap
Overtime
Prop Assistant
Prep
Shoot
Wrap
Overtime
Purchases
Rentals
Loss & Damage
Kit Rentals
Prop Master
Armorer
Payroll
IAP
MPIP
17-00 Wardrobe
17-01 Costume Designer
Prep/Travel
Shoot
Wrap
17-02 Costumer
Prep/Travel
Shoot
Wrap
Overtime
17-03 Extras Costumer
Shoot
Wrap
Overtime
17-04 Expendables
17-05 Purchases
17-06 Rentals
17-07 Alteration & Repairs
17-08 Cleaning & Dyeing
17-09 Kit Rentals
Costume Designer
17-12 Costume Prod. Assistants
Prep
Shoot
Wrap
Overtime
Payroll
IAP
MPIP
18-00 Make-Up and Hair

18-01 Key Make-Up Artist
Prep
Shoot
Overtime
18-02 Additional Make-Up Artist(s)
Shoot
Overtime
18-03 Key Hair Stylist
Prep/Travel
Shoot
Overtime
18-04 Additional Hair Stylist(s)
Shoot
Amt.
Units
15 Days
23 Days
2 Days
x
1
1
1
10 Days
23 Days
2 Days
1
1
1
1 Allow
1 Allow
1 Allow
1
1
1
4.6 Weeks
6 Days
1
1
Rate
Sub-Total
200
3,000
225
5,175
200
400
8,575
858
175
200
175
6,700
6,000
6,000
500
1,750
4,600
350
670
6,000
6,000
500
Total
9,433
7,370
6,000
6,000
500
25
175
17,853
17,853
1
88
Total for 16-00
115
1,050
3,928
1,071
15 Days
23 Days
5 Days
1
1
1
200
225
200
3,000
5,175
1,000
9,175
12 Days
23 Days
2 Days
Allow
1
1
1
1
150
150
150
5,550
1,800
3,450
300
555
6,105
6 Days
Days
Allow
1 Allow
1 Allow
1 Allow
1 Allow
1 Allow
1
1
1
1
1
1
1
1
140
840
1,000
4,500
4,500
750
1,000
840
0
84
1,000
4,500
4,500
750
1,000
924
1,000
4,500
4,500
750
1,000
4.6 Weeks
25
115
115
10 Days
23 Days
5 Days
Allow
2
2
2
1
46 Days
39,514
125
125
125
9,500
26,654
26,654
1
88
Total for 17-00
2,500
5,750
1,250
950
5,864
1,599
1 Days
23 Days
Allow
Days
13 Days
Allow
1
1
1
1
1
1
200
225
5,375
200
5,175
538
0
1,950
195
1 Days
23 Days
Allow
Days
Days
1
1
1
1
1
200
225
5,375
86 Days
Page 8
205
150
1,950
115
1,050
3,928
1,071
4,048
10,450
5,864
1,599
7,568
53,550
200
5,175
538
0
0
5,913
2,145
5,913
RYAN
Amt.
18-05
18-06
18-07
18-08
Overtime
SFX Makeup Artist
Prep
Shoot
Overtime
Purchases (includes SFX)
Rentals (includes SFX)
Kit Rentals
Key Make-Up
Add'l Make-Up
Hair Stylist
SFX Makeup
Payroll
IAP
MPIP
Units
Allow
1 Days
5 Days
Allow
1 Allow
1 Allow
23
13
23
23
Days
Days
Days
Days
Rate
Sub-Total
Total
1
1
1
1
1
175
175
1,050
1,100
1,100
175
875
105
1,100
1,100
1,155
1,100
1,100
25
25
25
25
15,125
15,125
1
88
Total for 18-00
575
325
575
575
3,328
908
3 Days
23 Days
1 Days
Allow
1
1
1
1
200
200
225
5,425
600
4,600
225
543
5,968
1 Days
23 Days
1 Days
Allow
1
1
1
1
175
200
175
4,950
175
4,600
175
495
5,445
1 Days
23 Days
Days
Allow
1
1
1
1
150
175
150
4,025
0
418
4,593
Days
23 Days
Days
Allow
1
1
1
1
0
4,025
0
403
4,428
Days
Allow
4.6 Weeks
4.6 Weeks
1 Allow
Allow
Allow
Allow
Days
Allow
1
1
1
1
1
1
1
1
1
1
0
0
1,840
12,880
5,000
0
0
0
0
0
0
1,840
12,880
5,000
0
0
0
0
0
4.6 Weeks
67 Days
1
1
1
1
575
325
575
575
3,328
908
5,896
29,506
19-00 Electrical
19-01 Gaffer
19-02
19-03
19-04
19-05
19-06
19-07
19-08
19-09
19-10
Prep/Scout
Shoot
Wrap/Travel
Overtime
Best Boy Electric/Genny Operator
Prep
Shoot
Wrap
Overtime
Electrics
3rd Electric
Prep
Shoot
Wrap
Overtime
4th Electric
Prep
Shoot
Wrap
Overtime
Additional Labor
Shoot
Overtime
Expendables/Purchases
Lighting Package Rental
Add'l Equip(night shooting)
Condors
Additional Generator
Additional Rentals
Electrical Generator/Driver
Loss & Damage
Kit Rentals
Gaffer
Payroll
IAP
MPIP
20-00 Camera
20-01 Director of Photography
Prep/Travel
Shoot
Post (DI)
20-02 B Camera/Steadicam Operator
Prep
Shoot
4,175
175
4,025
0
400
2,800
5,000
25
20,433
20,433
1
88
Total for 19-00
115
4,495
1,226
22 Days
23 Days
5 Days
1
1
1
200
225
200
4,400
5,175
1,000
1 Days
15 Days
1
1
175
200
175
3,000
99 Days
Page 9
206
115
4,495
1,226
8,712
54,701
10,575
Amt.
20-03
20-04
20-05
20-06
20-07
20-11
20-12
20-13
20-14
20-15
20-16
20-17
20-18
20-19
20-20
20-25
20-26
Overtime
1st Assistant Camera (A&B Cameras)
Prep/Travel
Shoot
Wrap
Overtime
2nd Ass't Camera (A&B Cameras)
Prep
Shoot
Wrap
Overtime
Digital Imaging Technician (DIT)
Prep
Shoot
Wrap
Overtime
Still Photographer
Camera Package Rental (A&B)
Steadicam Rig Rental
Teleprompter/Operator
Video Assist/Operator
Aerial Photography
Underwater and Topside Photography
Drones/GoPros
Loss & Damage
Motion Control
Expendables
Video Truck
Video Truck Crew
Kit Rentals
1st Ass't Cam (A&B) + DIT
Payroll
IAP
Units
Allow
x
1
1 Days
23 Days
1 Days
Allow
2
2
2
1
175
200
175
9,900
350
9,200
350
990
1 Days
23 Days
1 Days
Allow
Week
1 Days
23 Days
1 Days
Allow
16 Days
1 Allow
5 Weeks
Days
Days
Days
Days
Days
1 Allow
Allow
4.6 Weeks
Weeks
Weeks
2
2
2
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
150
175
150
8,650
300
8,050
300
865
0
175
4,025
175
438
2,800
40,000
6,250
0
0
0
0
0
1,000
0
1,150
0
0
23 Days
22-00 Transportation
22-01 Transportation Coord.(drives Trailer)
Prep
Shoot
Wrap
Overtime (20%)
22-02 Drivers
Driver #1
Prep
Shoot
Wrap
1,000
250
2,875
9,259
2,525
1
1
1
200
225
5,775
600
5,175
578
1
1
1
1
50
1
1
175
4,025
25
200
8
4,025
403
575
4,600
1,840
0
2,000
2,372
647
3 Days
23 Days
Allow
23 Days
Allow
23 Days
23 Days
4.6 Weeks
Weeks
1 Allow
175
175
175
4,375
175
40,000
1,250
25
42,085
42,085
1
88
Total for 20-00
157 Days
21-00 Production Sound

21-01 Mixer
Prep
Shoot
Overtime
21-02 Boom Operator
Shoot
Overtime
21-03 Expendables/Batteries
21-04 Sound Package
21-05 Walkie-Talkies
21-06 Sound Truck
21-08 Misc.Rentals/Loss & Damage
Payroll
IAP
MPIP
Rate
Sub-Total
3,175
318
2,000
10,780
10,780
1
88
Total for 21-00
49 days
9,515
0
4,813
2,800
40,000
6,250
0
0
0
0
0
1,000
0
1,150
0
0
2,875
9,259
2,525
13,816
6,353
4,428
575
4,600
1,840
0
2,000
2,372
647
4,312
27,125
1
1
1
1
200
200
200
7,200
2,000
4,600
600
1,440
5 Day
23 Days
1 Day
1
1
1
150
150
150
750
3,450
150
207
10,890
118,960
10 Days
23 Days
3 Days
Allow
Page 10
Total
3,493
8,640
RYAN
Amt.
Overtime (20%)
Units
Allow
x
1
Rate
Sub-Total
4,350
870
Total
5,220
Driver #2
Prep
Shoot
Wrap
Overtime (20%)
1 Day
23 Days
Day
Allow
1
1
1
1
150
150
150
3,600
150
3,450
0
720
4,320
Prep
Shoot
Wrap
Overtime (20%)
1 Days
23 Days
1 Days
Allow
1
1
1
1
150
150
150
3,750
150
3,450
150
750
4,500
Days
23 Days
Days
Allow
Days
Days
Days
Days
Allow
1
4
1
1
1
1
1
1
1
0
13,800
0
2,760
0
0
0
0
0
16,560
0
0
0
0
0
9,200
2,760
2,760
2,325
4,560
3,300
3,360
2,800
1,250
1,000
2,240
9,200
2,760
2,760
2,325
4,560
3,300
3,360
2,800
1,250
1,000
2,240
2,760
750
1,250
23,000
1,000
1,610
500
8,633
2,760
750
1,250
23,000
1,000
1,610
500
8,633
Driver #3
Add'l Driver
Prep
Shoot
Wrap
Overtime (20%)
Insert Car (car to car cam platform)
Water Truck Driver
Caterer
Shoot
Caterer Ass't Shoot
Additional Drivers
22-03 Transportation Vehicle Rental
Production Trailer (includes H/MU/Wardrobe)
Camera Cube Truck
G&E 10-Ton Truck
600A Tow Generator
Set Dressing Cube Truck
Props Van
Production Cube Truck
15-passenger Van
Miscellaneous Trucks/Vans
Portable Toilets
Production Van
22-04 Parking/Tolls/Gas
Truck Parking
Miscellaneous Parking
Prep Gas Allowance
Shoot Allowance
22-05 Repairs & Maintenance
22-06 Honeywagon Pumping
22-07 Miscellaneous
Payroll
23-00 Location Expenses

23-01 Location Manager
Prep
Shoot
23-02 Assistant Location Manager
Prep
Shoot
23-03 First Aid/Medic
Kit Rental
23-04 Fire Officers
Shoot
23-05 Security
Prep Nights - 12 hr.
Shoot Nights - 12hr.
Idle Days - 12 hr.
Idle Nights - 12 hr.
23-06 Police
23-07 Permits
23-08 Parking
Crew & Base Camp Parking
BG Parking
4.6
4.6
4.6
3
7.6
6.6
5.6
5.6
1
1
5.6
Weeks
Weeks
Weeks
Weeks
Weeks
Weeks
Weeks
Weeks
Allow
Allow
Weeks
4.6
1
1
4.6
1
4.6
1
Weeks
Allow
Allow
Weeks
Allow
Weeks
Allow
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
150
13,800
2,000
600
600
775
600
500
600
500
1,250
1,000
400
600
750
1,250
5,000
1,000
350
500
39,240
Total for 22-00
114,298
4 Weeks
4.6 Weeks
1
1
1,000
1,000
4,000
4,600
4,000
4,600
3
4.6
23
23
Weeks
Weeks
Days
Days
1
1
1
1
750
750
175
175
2,250
3,450
4,025
4,025
2,250
3,450
4,025
4,025
Days
4
23
12
12
10
1
Nights
Nights
Days
Nights
Days
Allow
1
1
1
1
2
1
200
200
200
200
1,100
5,000
23 Days
200 Extras
1
1
650
10
800
4,600
2,400
2,400
22,000
5,000
0
14,950
2,000
800
4,600
2,400
2,400
22,000
5,000
0
14,950
2,000
Page 11
208
Amt.
23-09 Catering Services
Crew Meals
SAG Extras
Misc Extras
Working Meals
Walking Wrap Meals
Prep/Wrap meals
23-11 Location Office Space Rental
23-12 Location Office Supplies
23-13 Location Equipment
23-14 Location Office Telephone/Fax
23-15 Site Cleaning/Trash Removal
Dumpsters
23-17 Location Site Rental Fees
Shoot
23-18 Location Scout Working Meals
23-19 Auto Rentals
Location Manager
Assistants
23-20 Miscellaneous Expenses
Mileage/DGA/SAG-AFTRA/Crew
Payroll
24-00 Picture Vehicles/Animals

24-01 Animal Trainers
Boss Wrangler
Assistant Wrangler
Wranglers
Riders/Handlers, etc
24-02 Animals
Horses
Veterinary Expenses
Feed/Shelter
Transportation
24-03 Picture Cars
Cars
Van
Police Car/Ambulance
Stunt Cars
Payroll
25-00
25-01
25-02
25-03
25-04
25-05
Media
Digital Media - Hard drives
Raw Film Stock
Film Lab-Negative Prep & Process
Telecine/Film to Digital transfer
Videotape stock
Units
23
165
50
25
11.5
1
Days
Meals
Allow
Days
Days
Allow
Months
Allow
4.6 Weeks
Allow
Rate
Sub-Total
70
1
1
5
1
1
1
1
1
1
23
23
13
15
350
1,500
1 Allow
10 Allow
1
1
1 Allow
1 Allow
1
1
Weeks
Weeks
1 Allow
Allow
1
1
1
1
Total
37,030
3,795
650
1,875
4,025
1,500
0
0
5,750
0
37,030
3,795
650
1,875
4,025
1,500
0
0
5,750
0
1,000
150
1,000
1,500
1,000
1,500
36,000
500
36,000
500
36,000
500
1,000
0
0
1,000
0
12,001
0
0
1,000
0
12,001
1,250
54,550
Total for 23-00
183,126
Weeks
Weeks
Week
Day
1
1
1
1
0
0
0
0
0
0
0
0
Allow
Allow
Allow
Allow
1
1
1
1
0
0
0
0
0
0
0
0
Days
Days
Days
Days
3
1
2
3
2,700
300
900
2,700
0
2,700
300
900
2,700
0
1 Allow
Feet
Feet
Allow
Each
1
1
1
1
1
9,000
0
0
0
0
9,000
0
0
0
0
3
1
1
3
300
300
450
300
0
Total for 24-00
9,000
6,600
Total for 25-00

26-00
26-01
26-02
26-03
26-04
26-05
26-06
26-08
26-09
Travel and Living - Crew

Airfares
Hotels
Taxi
Auto
Train
Excess Baggage
Per Diem
Gratuities
Fares
Nites
Allow
1 Weeks
RT
Allow
Days
Days
1
1
1
1
1
1
1
1
Total for 26-00

TOTAL PRODUCTION
Page 12
209
9,000
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
1,032,489
RYAN
Amt.
27-00 Editorial
27-01 Editor - Shoot/Post
Shoot
Post
27-02 Assistant Editor - Shoot/Post
Shoot
Post
27-04 Post-Production Supervisor
27-05 Editing Room Rental - In Home
27-06 Edit System Rental
27-07 Online Screening Accounts
27-10 On-Line Editing/Conform
Payroll
IAP
MPIP
28-00
28-01
28-02
28-03
28-04
28-05
28-06
28-07
28-08
28-09
28-10
28-11
28-12
Music
Composer Fee
Musicians
Music Prep
Studio Costs
Music Scoring Stage
Cartage and Rentals
Music Mix Room
Singers
Payroll Service
Miscellaneous
Music Licensing
Music Supervisor/Clearance
29-00
29-01
29-02
29-03
29-04
29-05
29-08
29-09
29-10
29-12
29-13
29-15
29-17
29-18
Post-Production Sound
Sound Editor
Assistant Sound Editor
Music Editor
Dialogue Editor
Spotting (Music & FX)
ADR (Studio/Editor)
Foley Stage/Editor
Foley Artists
Narration Recording
Audio Laydown
Audio Mix
Dolby License
Miscellaneous Expenses
30-00
30-01
30-02
30-04
30-06
30-09
30-11
30-12
Post-Producton - Digital and Film

Stock Footage
Archive Film/Television Clips
Archival Researcher
Clearance Supervisor
Screeners
Film Prints
Miscellaneous Expenses
Units
4.6 Weeks
12 Weeks
4.6 Weeks
5 Weeks
Weeks
Weeks
Weeks
1 Allow
Days
Rate
1
1
1
1
1
1
1
1
1
1
Weeks
Weeks
Weeks
Weeks
Hours
Days
Days
Days
Hours
Hours
1 Allow
Allow
Allow
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
1
Total
1,000
1,000
4,600
12,000
4,600
12,000
750
750
3,450
3,750
0
0
0
300
0
5,236
1,428
3,450
3,750
0
0
0
300
0
5,236
1,428
11,528
300
23,800
23,800
88
Total for 27-00
131 Days
1 Allow
Allow
Allow
Allow
Allow
Allow
Allow
Allow
Allow
Allow
1 Allow
1 Allow
Sub-Total
15,000
30,000
8,000
Total for 28-00
35,000
42,292
15,000
0
0
0
0
0
0
0
0
0
30,000
8,000
15,000
0
0
0
0
0
0
0
0
0
30,000
8,000
53,000
0
0
0
0
0
0
0
0
0
0
35,000
0
0
0
0
0
0
0
0
0
0
0
0
35,000
0
0
Total for 29-00
1 Allow
Allow
Weeks
Weeks
Allow
Allow
Allow
1
1
1
1
1
1
1
1,500
35,000
1,500
0
0
0
0
0
0
1,500
0
0
0
0
0
0
Total for 30-00

31-00 Digital Intermediate
31-01 Digital Intermediate
DI (includes QT ProRes)
Archive Export
31-02 Hard Drive Purchases
32-00 Titling and Graphics
32-01 Titling - Opening & End Credits
1 Allow
5 Reels
1 Allow
1 Allow
Page 13
210
1
1
1
22,500
350
500
Total for 31-00
5,000
1,500
22,500
1,750
500
22,500
1,750
500
24,750
5,000
5,000
Amt.
32-02
32-05
32-06
32-08
32-09
Units
Allow
Allow
Allow
Allow
Allow
Graphic Designer
Special Graphic Effects
Motion Control
Closed Captioning
Subtitling
Rate
Sub-Total
1
1
1
1
1
Total
0
0
0
0
0
0
0
0
0
0
Total for 32-00

33-00 Deliverables
33-01 Masters/Clones
DCP 2K
HDCam SR Master OAR
HDCam SR Master 1.78
HDCam SR Master(Pan&Scan)
HDCam Audio Layback
Pan&Scan Editorial
HDCam SR Tape Stock
DBeta NTSC
DBeta PAL
DVD Master Creation
33-03 Transfers and Dubs
33-05 Screening Copies
34-00 Digital Visual Effects/Animation

34-01 VFX
VFX Supervisor
CGI Enhancement/VFX
34-07 Animation
1
2
2
2
4
10
2
1
1
4
Allow
Hours
Hours
Hours
Hours
Hours
Allow
Allow
Allow
Hours
Allow
10 Allow
1
1
1
1
1
1
1
1
1
1
1
1
9 Days
1 Allow
Allow
1
1
1
5,600
400
400
400
225
350
250
500
600
150
10
Total for 33-00
250
40,000
5,000
5,600
800
800
800
900
3,500
500
500
600
600
0
100
5,600
800
800
800
900
3,500
500
500
600
600
0
100
14,700
2,250
40,000
0
2,250
40,000
0
Total for 34-00
42,250
218,492
POST-PRODUCTION TOTAL
35-00 Insurance
35-01 Producers Entertainment Pckg.
Media/Negative
Faulty Stock
Equipment
Props/Sets
Extra Expense
3rd Party Property Damage
Office Contents
35-02 General Liability
35-03 Hired Auto
35-04 Cast Insurance
35-05 Workers Compensation
35-06 Errors & Omissions
36-00 General & Administrative Expenses

36-01 Business License/Taxes
LLC Set Up Costs
CA State Filing Fee
Annual State tax fee
36-02 Legal
36-03 Accounting fees
36-05 Telephone/Fax
36-06 Copying/Scanning
36-07 Office Craft Services
36-08 Office Space Rental
Prep
Shoot
Wrap
36-09 Office Furniture
36-10 Office Equipment & Supplies
36-11 Computer Printers
Office Printer
Accounting Printer
1 Allow
Allow
Allow
Allow
Allow
Allow
Allow
Allow
Allow
Allow
Allow
1 Allow
1
1
1
1
4
4
4.6
2
1
1
1
1
1
1
1
1
1
1
1
1
1
1
Allow
Allow
Allow
Allow
Allow
Allow
Allow
Weeks
Allow
Weeks
Weeks
Months
Allow
Allow
1 Allow
1 Allow
Page 14
211
27,000
5,500
Total for 35-00
1
1
1
1
1
1
1
1
1
1
1
1
1
1
650
800
2,000
25,000
1
1
27,000
0
0
0
0
0
0
0
0
0
0
5,500
27,000
0
0
0
0
0
0
0
0
0
0
5,500
32,500
500
500
500
1,000
3,000
650
800
2,000
25,000
0
0
0
800
0
2,000
2,300
1,000
1,000
3,000
650
800
2,000
25,000
0
0
0
800
0
2,000
2,300
1,000
1,000
3,000
450
150
450
150
450
150
200
RYAN
Amt.
36-12
36-13
36-14
36-15
36-16
36-17
36-18
36-19
36-20
36-21
36-22
Software/Apps/FTP
Transcription
Messenger/Overnight Shipping
Bank fees
Storage
Office Cleaning
Publicity
Wrap Party
Working Meals
Overhead (Production fee)
Completion Bond
Units
Allow
Hours
25 Days
1 Allow
Allow
1 Allow
Allow
Allow
Allow
Allow
Allow
Rate
1
1
1
1
1
1
1
1
1
1
1
Sub-Total
30
500
500
Total
0
0
750
500
0
500
0
0
0
0
0
0
0
750
500
0
500
0
0
0
0
0
Total for 36-00

37-00 Publicity and Marketing
37-01 Publicity
37-02 Marketing
Allow
Allow
1
1
0
0
Total for 37-00
Total Above-the-Line
Total Below-the-Line
Total Above and Below-the-Line
Contingency
GRAND TOTAL
Page 15
212
40,900
0
0
0
312,478
1,324,381
1,636,859
163,686
$1,800,545
0103 Writer Salaries/Screenplay Purchase

The salary is set by the WGA contract.
0104 Research/Clearances
Fees to clear the title and any other miscellaneous expenses.
0108 WGA Publication Fee
For lower budget projects there is a WGA Publication fee.
0202 Producer
There are two producers with the same flat fee.
0207 Misc. Expenses IATSE Signatory Fee
This fee is charged by IATSE when the Tier 0 agreement
gets signed.
0301 Director
The director is hired after several of her short films win awards. The
director is paid a low flat rate to direct her first feature film.
0401 Lead Actors
These rates are scale payments for Lead Actors for rehearsal time,
shoot time, and overtime for the 4.6-week shooting schedule.
0402 Supporting Cast
These rates are scale payments for the Supporting Cast for shoot
time and overtime for the 4.6-week shooting schedule.
0403 Day Players
These rates are scale payments for Day Players for shoot time and
overtime for the 4.6-week shooting schedule.
0404 Casting Director/Staff
For casting the films lead and supporting roles and day players.
0405 Casting Expenses
For miscellaneous casting expenses.
213
RYAN
0410 Stunt Coordinator

There is one car crash that will take three days to set up and shoot.
The Coordinator will plan out the stunt and hire the Drivers. This is
the SAG-AFTRA scale payment.
0411 Stunt Players
This is the SAG-AFTRA scale payment for players and drivers.
0412 Stunt Costs/Adjustments
Depending on the complexity of the stunt, the players and drivers
will get additional fees.
0413 Stunt Equipment
For any costs for safety equipment, etc.
0414 ADR (Actors fees)
To have actors do ADR recording during post-production.
0501, 0502, and 0504 Airfares, Hotel, and Auto
One of the producers lives in Los Angeles. These costs are for him to
fly and stay in Philadelphia for the duration of prep, shoot, and wrap.
Hell rent a house that he can work out of as well. No per diem
hell pay for his own food costs.
0601 thru 0604 Airfares, Hotels, Taxi, and Auto
One actor is starring in a TV show in Los Angeles and will need to
fly in twice during the filming and stay at a hotel.
0609 Per Diem
The actor will be paid the SAG-AFTRA per diem rate for every day
away from her home city.
0801 Line Producer
The Line Producer will come onto the project six weeks before the start
of principal photography and stay for two weeks to wrap out the job.
0802 Assistant Directors
The 1st Assistant Director will prep for four weeks and bring on the
2nd AD one week before filming begins. Some films/budgets are big
214
enough to require a 2nd 2nd Assistant Director who works with the
2nd AD to help in whatever work needs to be done. Usually it entails
supporting the cast members.
0803 Production Supervisor
This person will work in tandem with the Line Producer and hire all
crew, coordinate schedules, and work with Department Heads.
0804 Production Coordinator
This person assists the Supervisor with scheduling, coordinating paperwork, and other production-related work. The Assistant
Production Coordinator will come in for the final two weeks of prep
and stay for production.
0805 Script Supervisor
This person will have two days to prep and will receive a bump up
in pay on the days they plan to have two cameras rolling.
0806 Production Accountant
The accountant will cut all checks, run cost reports, and meet with
the Producers and Line Producers on a daily basis to stay on top of
the budget and accounting.
0808 Production Assistants
There will be one Office Production Assistant for prep, shoot, and
wrap and five Set Production Assistants for the shooting period.
0809 Studio Teacher/Tutor
There is one minor-age actor for two weeks of the shooting period.
The Tutor will do educational work with the actor in between setups
during the weekday filming days.
0902 Extras, SAG-AFTRA
The SAG-AFTRA contract allows for a mixing of union and nonunion Background Actors.
0903 Extras, Non-Union
The rate for non-union Background Actors is lower than the guild rate.
215
RYAN
0904 Extras Casting Director

This fee will go to the Casting Director in charge of the Background
Actors.
0905 Extras Agency Fee
The 10% fee goes to the agents for any Background Actors that are
cast in the film.
1101 Production Designer
Fees for prep, shoot, and wrap for this key department head.
1102 Art Director/Set Designer
This person will work in tandem with the Production Designer.
1104 Art Coordinator
The Coordinator will come on three weeks before principal photography to coordinate orders, purchases, budgeting, and shipping for
the art department.
1107 Signage & Graphics
One of the stores needs a custom-built sign, so this will pay for
design and printing.
1108 Storage
They will need to store lots of props, set decorating, and online art
purchases during prep and filming.
1109 Production Placement/Clearance Allowance
There are two key branded props that may require a payment to the
copyright owner.
1110 Purchases/Rentals
For Art Department purchases and rentals.
1301 thru 1303 Key Grip, Best Boy Grip/Dolly Grip, plus 3rd and
4th Grips
For labor costs for the Grip department.
216
1306 Grip Rentals

For Grip package rentals including a dolly.
1307 Expendables
For gaffers tape, gels, clothespins, etc.
1307 Kit Rentals
This charge is for the coffee maker, hot water server, serving
trays, tables, utensils, etc., that the craft service person will rent to
the production.
1310 Craft Service
For labor and food costs for crew/cast craft service needs.
1401 and 1402 Special Effects Person and Assistant
This film will have to shoot a few plates (images that will be used
as the background in a special effect) and do some special effects on
set for use in post-production.
1409 Rentals & Purchases
For SFX equipment rentals and purchases.
1501 thru 1507 Set Decorator, Lead Person, Set Dressers,
Additional Labor, Expendables, Purchases and Rentals
This film will be shot entirely on location so Set Dressing will be key
to the sets. These line items are for Set Decorating Labor, Rentals
and Purchases.
1509 Kit Rentals
For the Set Decorators kit.
1601 thru 1606 Property Master, Assistant, Purchases, Rentals,
Loss & Damage and Kit Rentals
For the Labor and Purchases/Rentals for the Props Department.
1608 Armorer
For five filming days and one prep day, there will be an armorer on
set when one of the actors works with a gun.
217
RYAN
1701 thru 1708 Costume Designer, Costumer, Extras Costumer,

Expendables, Purchases, Rentals, Alterations & Repairs, Cleaning
& Dyeing, Kit Rentals
For Costume Department labor and cost all contemporary clothing, no period pieces.
1709 Kit Rentals
To rent the Costume Designers kit.
1712 Costume Production Assistants
For additional production assistants to help this department.
1801 thru 1803 Key Makeup Artist, Additional Makeup Artists,
and Key Hair Stylist
For Labor costs for the Makeup and Hair Department.
1805 SFX Makeup Artist
There will be a fight and a gun shot wound that will need to be
created.
1806 thru 1808 Purchases, Rentals (including SFX), and Kit
Rentals
For Makeup and Hair Departments costs.
1901 thru 1903 Gaffer, Best Boy Electric, and Electrics
For Labor costs in the Lighting Department.
1905 and 1906 Expendables and Lighting Package Rental
For Equipment and Expendables for the Lighting Department.
1910 Kit Rentals
For the Gaffers kit rental.
2001 Director of Photography
A flat rate for the prep, shoot, and post work of the DP.
2002 B Camera/Steadicam Operator
The B Camera operator will also operate the Steadicam rig on
certain days.
218
2003 thru 2006 1st & 2nd Assistant Camera (A&B Cameras), DIT,
and Still Photographer
For the Labor costs for the Camera Department.
2007 Camera Package Rental (A&B Cameras)
For the Camera equipment rentals for the production period.
2011 Steadicam Rig Rental
For the Steadicam rig during production.
2017 Loss & Damage
For damage to equipment.
2019 Expendables
For camera tape, sharpies, etc.
20-26 Kit Rentals
For kit rentals for the two 1st ACs and DIT.
2101 thru 2105 Mixer, Boom Operator, Batteries, Sound Package,
and Walkie-Talkies
For the Labor and Equipment costs for the Sound Department.
2108 Miscellaneous Rentals/Loss & Damage
For Sound Departments loss and damage and additional rentals.
2201 and 2202 Transportation Coordinator and Drivers
The Labor costs for the non-union Transportation Coordinator
and Drivers.
2203 thru 2207 Transportation Vehicle Rental, Parking/Tolls/Gas,
Repairs & Maintenance, Honeywagon Pumping, and Miscellaneous
This production will rent eight Production Vehicles these amounts
cover the rentals and costs to keep them on the road.
2301 thru 2303 Location Manager, Assistant Manager, and First
Aid/Medic
For the labor costs during scout and production. There are no plans
to shoot in a studio so everything will be shot in real locations.
219
RYAN
2305 thru 2308 Security, Police, Permits, and Parking

For any Security, Police, and costs for Permits and Parking for
all vehicles.
2309 Catering Services
For all lunches and wrap meals for Cast, Crew, and Extras during
production.
2313 Location Equipment
For equipment during scout and shooting period for the Location
Department.
2315 Site Cleaning/Trash Removal/Dumpsters
A few locations will need to be professionally cleaned or require a
dumpster rental.
2317 Location Site Rental Fees
This flat fee will cover all location site rentals. Some of the locations
will be free.
2318 Location Scout Working Meals
For working meals while scouting for the film.
23-20 Miscellaneous Expenses
For expenses incurred by the Locations Department.
2403 Picture Cars
For the gun fight scene and a few others, they will need to rent picture vehicles including a police car.
2501 Digital Media
For all hard drives and backups for A and B cameras.
2701 Editor Shoot/Post
The Editor will cut while shooting and work with the Director
through picture lock.
220
2702 Assistant Editor Shoot/Post

The Assistant Editor will work during production and then come
back to finish the film toward the end of the editing period.
2707 Online Screening Accounts
During post-production the Editor will share materials through an
FTP site that is password-protected.
2801 Composer Fee
For the composition and recording of the composers music.
2811 Music Licensing
For sync and master use licenses for all rights, all media, in perpetuity for several songs for the soundtrack.
2812 Music Supervisor/Clearance
The Supervisor will recommend and clear all the music licenses.
2915 Audio Mix
A flat rate for the Sound Editors work, ADR recording, Foley work,
and the Audio Mix.
3001 Stock Footage
There is one scene that requires a short clip seen on a television.
This is for the licensing costs.
3101 Digital Intermediate
A flat rate for the DI including Color Grading.
3102 Hard Drive Purchases
For additional hard drives in post-production.
3201 TitlingOpening & End Credits
Fee to create the graphics for any opening and end credits. These
can be simple or very elaborate based on the Directors vision and
the projects budget allowance. End credits are often a combination
of cards which usually scroll to accommodate the names of all the
talented cast and crew necessary to make the film.
221
RYAN
3301 Masters/Clones
The costs to create the deliverables listed.
3305 Screening Copies
For DVD copies.
3401 VFX
This film has several scenes that require CGI/Visual Effects work.
This bid is from the graphics company based on a very specific storyboard for each effect.
3501 Producers Entertainment Package
For production, general liability, auto, workers comp, and insurance
coverage for the stunt/gun fight.
3506 Errors & Omissions
For E&O insurance for the film.
3601 Business License/Taxes
The producers set up an LLC in Los Angeles for this production.
3602 Legal
This is a flat rate for all legal fees including licensing agreements.
3607 thru 3611 Office Craft Services, Space Rental, Furniture,
Equipment, Supplies, and Printers
For all office space and equipment costs.
3614 Messenger/Overnight Shipping
For Messenger and Overnight Shipping costs.
3615 Bank Fees
For the bank charges for the business checking account.
3617 Office Cleaning
This is part of the office space rental agreement.
Contingency
The contingency fee is set at 10%.
222

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Here is the 6theditioncompletely revised and updatedof the

PERFORMING ARTS/FILM AND VIDEO/REFERENCE

With it you have access to free downloadable Excel spreadsheets for

This book is a true nuts-and-bolts guide to production and should

Film + Video Budgets is an essential

Maureen A. Ryan is a New Yorkbased producer

THE BUDGET PLAN

Maureen A. Ryan 6th Ed.

Published by Michael Wiese Productions

Printed on Recycled Stock

FILM & VIDEO BUDGETS 6TH EDITION

Negotiating with Crews 27

5. A MASTER BUDGET, LINE BY LINE. . . . . . . . . . . . . . . . . 71

6. SAMPLE BUDGETS FOR SPECIFIC PROJECTS . . . .196

$1.8 Million Narrative Feature Film Budget 197

ABOUT THE AUTHOR . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365

HOW TO USE THIS BOOK

ont read the whole thing! (Feel better already?) However,

FILM & VIDEO BUDGETS 6TH EDITION

To download your free Excel Budget Templates:

veryone has to begin at the beginning. If you carefully follow

FILM & VIDEO BUDGETS 6TH EDITION

also online websites that streamline the process. Youll probably

SETTING UP A PRODUCTION COMPANY

FILM & VIDEO BUDGETS 6TH EDITION

SETTING UP A PRODUCTION COMPANY

BECOMING A SIGNATORY TO GUILDS AND UNIONS

FILM & VIDEO BUDGETS 6TH EDITION

forms. There is no fee to become a signatory. Your company cannot

SETTING UP A PRODUCTION COMPANY

and vans). Because it is so complicated, it can be difficult to get

FILM & VIDEO BUDGETS 6TH EDITION

What follows are the nuts and bolts of budgeting; a potpourri

SAMPLE BUDGETS FOR SPECIFIC PROJECTS

$1.8 MILLION NARRATIVE FEATURE FILM BUDGET

FILM & VIDEO BUDGETS 6TH EDITION

$1.8 Million Narrative Feature Budget

Story & Rights

Production: $1.8 Million Narrative

SAMPLE BUDGETS FOR SPECIFIC PROJECTS

$1.8 Million Narrative Feature Budget

Story & Rights

Total for 01-00

Total for 02-00

Total for 03-00

FILM & VIDEO BUDGETS 6TH EDITION

$1.8 Million Narrative Feature Budget

Travel & Living Producers/Director

Total for 05-00

Travel & Living- Cast

Total for 07-00

SAMPLE BUDGETS FOR SPECIFIC PROJECTS

$1.8 Million Narrative Feature Budget

FILM & VIDEO BUDGETS 6TH EDITION

$1.8 Million Narrative Feature Budget

Total for 09-00

Total for 10-00

12-00 Set Construction

SAMPLE BUDGETS FOR SPECIFIC PROJECTS