Tag: filmmaking

Filming in Colorado

Posted on by Kent

Colorado has been a hidden gem for film locations for quite some time. With a rich history of filmmaking, it has been featured in such classic films as True Grit, Butch Cassidy and the Sundance Kid, and Indiana Jones and the Last Crusade. Filmmakers have know for years that Colorado is hard to beat when you consider its varied terrain provides the perfect stand-in, no matter the setting. Alpine peaks, rolling plains, lush forests, epic sand dunes, and modern cities are all mere hours away from one another. Because of this, Colorado can easily double for parts of Europe, Africa, and Asia.

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Beyond the varied locations, Colorado has many other advantages:

Great Weather

The state has over 300 days of sunshine and when stormy weather comes through, it moves on quickly. An average altitude of 6,800 feet above sea level provides mild winters and low-humidity summers creates crisp, cool nights. This allows production schedules to run on time with little threat of weather delays.

Quality Crew

Colorado has an enviable track record of hosting productions from all over the world. There is tremendous depth in every crew position as well as a number of equipment rental vendors and full-service production companies in the state to support them. The Colorado Office of Film, Television and Media (COFTM) offers a bevy of programs and resources for out-of-state productions.

Affordability

As compared to states on either coast, Colorado is a bargain for filmmakers. Equipment rentals, crew rates and travel expenses are lower than production hubs in California, New York and Georgia. Not only is it an affordable state for production, the quality of life index is one of the highest in the nation. And Colorados’s rich history and diverse landscape provide numerous reasons to visit.

Incentives

After lagging behind its neighbors when it comes to providing film incentives, Colorado has a $6 million film incentive. The state allows companies that film in Colorado to receive up to a 20% tax rebate if they spend a certain amount on qualified expenses, such as crew wages and set construction.

Rich History

Colorado with its striking mountain and desert landscapes has provided the backdrop for many old silent westerns dating as far back as 1898. It has continued to be the location of choice for films like The Hateful Eight, Fast and Furious 7, The Long Ranger as well as numerous commercials, music videos and documentaries.

To take advantage of any state, you need a company well-versed in production logistics, location scouting, and permitting procedures. As natives of Colorado, we know the state from Grand Junction to Burlington, Fort Collins to Trinidad, and every place in between. We are skilled production coordinators that have experience in all aspects of film and television production. We also represent a variety of filming locations in Colorado, as well as local studios offering full production services in Denver. If you need a Fixer on your next shoot, drop us a line.

The Role of a Producer

Posted on by Kent

Production is complicated process, especially in the advertising world. Beyond the challenging budgets, logistics and schedules, there’s the added responsibility of working with clients.  Timeframes are challenging. Creative might arrive just before a shoot. And with so many moving parts, it’s not unheard of to arrive on set with little preparation.

It’s up to the producer to make sure that everything runs smoothly. No matter how big or small the production, the producer keeps everything on-time and under budget. That description, while accurate, doesn’t begin to describe the role of the Producer. Who are they? What do they do?

For example, while it’s not unheard of for multiple producers to be involved on a project, there is often just one. Ultimately, the size and complexity of the production determines how many producers are involved. Let’s take a look at three types of producers: the Executive Producer, Line Producer, and Creative Producer.

Executive Producer

If you’re producing a major commercial for a big brand, chances are you’ll need an Executive Producer on the project. An Executive Producer is focused on the financial-side of production. They might be the head of a production company or contributed/secured funding for the project. As stakeholders, it’s their job to make sure things go well.

But even with the financial stake, when it comes to the day-to-day production the Executive Producer is more hands-off than Line Producers and Creative Producers.

Line Producer

A Line Producer joins a project in the early stages of pre-production, and without them, no one would get hired and no locations would be booked. When the concept is approved, it is the Line Producer’s job to execute it.

While Executive Producers are the ones that secure the budget, Line Producers focus on the ‘nuts and bolts’ of a project. Budgeting, scheduling, booking a crew, sourcing equipment and other logistical details are all responsibilities of a Line Producer.

Creative Producer

A Creative Producer focuses on the creative details and logistics for production. They work alongside (and oftentimes hire) writers and directors to turn the project’s concept into a reality. While every producer knows how production works, the Creative Producer is understands this process intimately. They also act as a liaison between the director and client to make sure the client’s vision is being presented correctly.

From the start to end of any production, at least one producer makes things happen behind-the-scenes. But how does a producer’s role change throughout this process?

A Producer’s Role On And Off Set

The standard answer to a producer’s role and/or responsibility boils down to this: If a producer isn’t personally carrying out a task (i.e., creating a budget, casting talent, hiring a crew, etc.), then they are overseeing it.

The producer’s day-to-day job can be broken down along the three phases of production, pre-production, production, and post production. Their responsibilities change depending on what phase a production is in.

Pre-production

Pre-production on a commercial shoot encompasses all the tasks that happen from the initial project pitch to a client and all the way to right before cameras start rolling. The timelines are typically very short, lasting only several months at most. Producers work closely with a client (i.e., a brand or business) and become their point of contact throughout the process.

Depending on when a producer joins onto a project, the concept might or might not already be developed. Either way, the producer ultimately gives (or doesn’t give) the green light for pre-production to start and bases this decision on the budget parameters provided by the client.

If the concept requires a bigger budget and/or expensive resources that aren’t available, the producer point that out and offers possible solutions. During these budget negotiations, the concept is goes to the next step and becomes a script. The budget is adjusted to meet the needs of the script and approved by the client.

Throughout pre-production there are an assortment of details producers must deal with. For example, every project needs production insurance to issue Certificates of Insurance (COIs) to vendors in order to rent the gear you need to shoot the commercial. Other paperwork to gather includes crew deal memos, location agreements, talent agreements and setting up payroll.

It’s not glamorous, but all of this work gets the production ready to roll in a safe, legal, and efficient manner.

Production

After all the work done in pre-production, a producer delegates a lot of responsibility to the director and assistant director during production. The assistant director will usually send out a call sheet every day of the commercial shoot. But if the team is small, this responsibility could fall on the producer.

Other than that, a producer’s main responsibility in production is to oversee the progress and to put out fires. This can be anything from running behind schedule, missing a piece of critical equipment, and health and safety issues such as a COVID outbreak on set. It’s the producer’s job to come up with solutions to these problems and keep the production on time and on budget.

The producer also works closely with the director, department heads in the crew, and the client to make sure that everything that was planned in pre-production comes to fruition. Much of their day is spent managing client expectations and getting their sign off on takes. When the client is happy, the set is an easy place to work.

Post Production

Post Production includes video editing, audio mixing, motion graphics or visual effects, color grading, and quality control. A producer may handle this process, depending on the size of the production company. In larger operations however, a separate post producer position exists to have an expert focusing solely on this process.

Attention to detail and great organizational skills are needed. Multiple versions are created for broadcast and social media. Closed captioning and subtitles are addressed. And while the producer deals with all of these elements, they must deliver the spot under the tight deadlines inherent in the fast-paced world of advertising.

Final Thoughts

A producer helms every successful production and commercial shoot. They manage communications with the client, handle the budget and schedule, deal with unforeseen problems and oversee the project’s progress. Organizations like the Association for Independent Commercial Producers (AICP) are a great resource and provide guidance on many production issues.

Not only is the producer responsible for getting the project off the ground, they’re in charge of seeing it through to the end. It’s not a job that is suited for everyone, but that’s why the producer is a critical part of any production.

The Role of the Producer is part of our series that looks at various roles within film and television production. Also check out our Fixer, Cinematographer and COVID Compliance Officer posts. Each goes into detail about a key position on set.

The Role of a Cinematographer

Posted on by dev_team

You love movies (and who doesn’t), so you’ve decided you want to be a Cinematographer. Great! But what does a Cinematographer actually do? If you say shooting with a camera you’re only half right. There’s so much more that goes into it… and we have the scoop!

The main role of a Cinematographer is to communicate the script visually with the audience in mind. It’s visual storytelling at it’s best. From an operational side, the Cinematographer is the person who actually gets shoots the film, TV series or commercial. But there’s more to it than that. They are also the head of the lighting and camera departments which is a big deal. Still, that doesn’t really tell us what we need to know. The best Cinematographers work closely with the Director to help the director realize their creative vision, through composition, framing, lighting and camera movement.

The EFTI School of Photography in Madrid produced a very stylized version of the job a few years back.

The workflow of a Cinematographer comes down to the fundamentals phases of production: Pre-Production, Production and Post-Production. The project is essentially conceived three times and it’s the Cinematographer’s job to help shepherd the project through the first two phases and then provide input on the final one.

Pre-Production

In the world of filmmaking, cinematographers can be described in different ways. It all depends on how they interact with the camera. If they are operating the camera, they’re a Cinematographer. If they are instructing someone else to operate the camera and more focused on the overall look of the shot, they’re a Director of Photography (DP).

A Cinematographer’s work starts long before a frame of video is recorded. It’s here the Cinematographer has to make some crucial decisions about the look and feel: Questions such as whether to shoot on digital or film (which is rare these days)? What type of camera is the best choice to capture the Director’s vision? Should they shoot in color or black and white? If color is used, will the colors be saturated or faded? Are they going for a more realistic tone or an expressionistic one? What role will camera movement play in the shots? You’ll also assist in sourcing your crew and equipment to get those shots the Director wants.

As the Cinematographer and Director meet to answer all of these questions prior to shooting a bond is formed. Filmmaking is highly collaborative business so it’s critical to get along well with your Director and be on the same page. If things work out well, you’ll see the relationship continue which is why we commonly see the same Cinematographer/Director partnerships in movies.

Production

Cinematography is one of the most complex and challenging facets of filmmaking, especially during principal photography, when everything gets hectic. Not only does the Cinematographer have the biggest crew on set, but he also has to be in continuous communication with the Director and the Production Designer in order to make sure that everyone is on the same page with how the film will look.

For each scene, the Cinematographer decides on the best combination of cameras, filters and lenses, as well as where the cameras will be placed, what the lighting should be and when the scene will be shot. On large films, several cinematographers may oversee different camera set-ups. Others may serve as second-unit directors, shooting background or locations without the actors.

Post Production

Once everything is shot, the cinematographer’s work is largely done. You hand over all your footage to an Editor and let them work their magic. With the vast majority of projects captured in digital RAW formats, manipulating exposure and color is easier than ever before which reduces the involvement of the Cinematographer in post. While Editors and Colorists are masters of their trade, it’s still a good idea to stick around to make sure the film retains the look envisioned by you and the Director.

The Skills Needed

“A Cinematographer is a visual psychiatrist, moving an audience through a movie…making them think the way you want them to think, painting pictures in the dark.”

Cinematographer Gordon Willis (The Godfather, Annie Hall)

Cinematographers are both technicians and artists. They are in charge of the camera, its angles, the exposure used, and production style all enhance the storytelling. But they also must deal with the strengths and limitations of the camera equipment. Even today’s advanced cameras can’t reproduce an image the same way our eyes do, so the Cinematographer must compensate for this inconsistency.

Understanding file formats of media is another consideration. ProRes is one of the most well-known and widely used video file formats. Raw video also exists, but is often cost-prohibitive.  It also adds significant increases in budget due to additional processing time and equipment requirements.

Perhaps the most important aspect of a Cinematographer’s job is their ability to work with others. They never work alone. And they constantly rely on others to help them achieve their goals. Any production requires collaboration. But a Cinematographer must be both committed to their work yet flexible in their approach.

Compromises always have to be made so a lot of the job is looking at the day and realizing what is vital to capture. The easiest way to communicate with the Grip and Electric teams is through making lighting plots and revising them as necessary. It’s the Cinematographer’s job to make sure every shot is usable and flag them when they’re not.

Anything can happen on a film set. So being able to adapt during production is a key trait of a successful Cinematographer.

Learning Cinematography

There are lots of great resources and associations out there to get more information. Here’s a few that we recommend:

The Role of the Cinematographer is part of our series that looks at various roles within film and television production. Also check out our description of the COVID Compliance Officer. 

 

What a Fixer Does in Film Production

Posted on by Kent

Few careers offer more variety than that of a Fixer, the local expert responsible for bringing all the moving parts together for a film or video production. Fixers help productions save time and money by allowing crews to hit the ground running without having to worry about local logistics.

This role demands exceptional problem-solving skills, sharp organization, and a strong network of crew and trusted vendors. For those who thrive ‘behind the scenes,’ it’s a rewarding job but far from easy. Fixers constantly identify potential problems and act quickly to resolve them. Most build their expertise through years of experience in a range of production roles.

“I don’t see creative briefs and scripts anymore. I see jigsaw puzzles. You see the whole production through the eyes of ‘what do I need to shoot here’, not just ‘that’s a cool concept,” said Kent Youngblood, Fixer and Owner of Denver-based Movie Mogul Productions. “You have to become very detail-oriented but I’m constantly thinking about the hundred different things I need to solve. It can drive you crazy.”

Every Day Brings a New Challenge

In the first six months of 2022, Youngblood tackled two major documentaries for European networks, each packed with its own challenges. For the BBC–Studio Ramsay co-production Trailblazers, he coordinated more than 30 locations and activities, provided crew recommendations, and arranged transportation for a three-week shoot.

He managed a 40-person crew with daily company moves—requiring constant adjustments and razor-sharp planning. The team filmed everywhere from a cowboy bar in Cheyenne, Wyoming to the summit of Pikes Peak, all under aggressive timelines. The production launched in January and wrapped in April, capping off one of Movie Mogul’s most demanding and rewarding shoots to date.

A month after completing Trailblazers, he was off on another documentary for France 3 television called Pack Your Rucksack. Although the journey through Colorado was similar, it had a smaller crew and needed language support for a French-speaking crew. A major challenge was gaining access to national parks across Colorado. Due to staffing shortages and permitting issues, getting approved to film was difficult. Having the production designated as “Low-Impact Filming” was critical to success.

By the end of June, Youngblood had travelled over 3,000 miles throughout Colorado and had “way too many Starbucks ice teas and fast food drive-ins. But it was an epic six months of travel. I wouldn’t trade the experience for anything.”

Questions and Problem Solving

Every production has its unique requirements and it is the Fixer’s job to come up with solutions. Years of hands-on experience and deep local knowledge help anticipate most needs but that doesn’t mean there aren’t surprises. Requests can range from the challenging to the downright absurd:

Q: Can we get 250 pounds of camera equipment up to the top of the Great Sand Dunes National Park?
Yes… with sledges, plenty of time and lots of manpower.

Q: Can we summit Long’s Peak in February with a crew of 20 people?
No… with a crew unaccustomed to an altitude of 14,259 feet, deep snow drifts and freezing temperatures, it’s a safety hazard.

The Thrill of Accomplishment

Working on an intricate puzzle and clinching it with the final piece is gratifying. “I’ll walk into something and go, ‘This is it’,” said Youngblood. “Everything together: the locations, the crew, the equipment, the travel arrangements… and all under budget. It’s a thrill and a relief.”

Above all, one of the best parts of being a Fixer is how every project is different. “In one month I worked on a network documentary, a music video for a major label, a Vogue fashion shoot and an immersive experience for Netflix,” Youngblood said. “The variety is hard to beat. And the people you meet along the way are awesome.”

From Colorado to Utah, from Wyoming to New Mexico, our team has travelled all across the Rocky Mountain West. We are experienced Fixers that understand the unique aspects of film and television production. We also represent a variety of filming locations in Colorado, as well as local studios offering full production services in Denver, Albuquerque and Cheyenne. If you need a Fixer on your next shoot, drop us a line.

How California’s AB-5 Law Affects Filmmakers

Posted on by dev_team

Everyone has been wondering how the new bill enacted to classify Uber and Lyft drivers as employees would affect California’s gig economy. It turns out ripples produced by the law will be felt throughout the entertainment industry as well. Effective as of January 1, 2020, AB-5 (Assembly Bill 5), will restrict the hiring of employees on 1099. Rather than making a law targeting specific companies, legislators in Sacramento basically outlawed all independent contractors with few exceptions.

AB-5 will have jurisdiction over California residents as well as any employees required to perform significant services in California, regardless of their home state. Additionally, even companies that conduct the majority of their business outside of California would still be subject to AB-5 for any worker performing services in California.

The new law will likely have some effect on every film and television production. While major studios should be able to move forward unscathed, smaller production companies and indie filmmakers will feel the brunt of the law. By forcing these individuals to designate everyone they hire as an employee, it will increase costs by up to 30 percent. That’s quite hit for profit margins!

Who’s a Contractor Under AB-5?

AB-5 places a bigger burden on employers to prove that their short term workers are not employees. But just because the law will make it harder for independent contractors to be classified doesn’t mean project based work will cease. AB-5 is merely changing the labor test used by the state of California.

Prior to the law, California adopted the Borello test to determine whether workers were employees or contractors. The new bar to cross will be The ABC Test. Already used by U.S. Department of Labor, the ABC Test assumes a worker is an employee unless the employer can prove there is an absence of control, the worker’s business is unusual compared to the employer’s, and the worker is customarily engaged in a similar trade with many other business entities. Employers who mis-classify their employees as contractors can expect fines for doing so.

How Does it Affect Union Productions?

Most work for major studios and production companies is covered under collective bargaining agreements, with workers being classified as payroll employees. For this reason, entertainment industry unions don’t see the legislation affecting their members.

In a joint statement by SAG-AFTRA, WGA West, IATSE, Hollywood Teamsters 399, and Studio Utility Employees Local 724, the unions made it clear that they do not think AB-5 will affect the industry:

“We have carefully monitored this legislation as it was drafted and moved through the California Legislature… During that time, we conducted due diligence within our own guilds and unions, with outside tax attorneys, CPAs, and entertainment lawyers knowledgeable about our business and loan-out companies, and with legislative staff in Sacramento. These conversations were all undertaken to ensure that AB5 would not undermine the rights secured by our collective bargaining agreements, including the right to form and utilize loan-out companies.”

How Does it Affect Non-Union Productions?

The broad scope of AB-5 should be a warning for all non-union projects in California. Under the ABC Test, the majority of the cast and crew of a production will be viewed as employees considered to be under the company’s control.

Having a call time could be constitute “control.” Working as an actor could be construed as usual to the business of a production company. Collaborating with the same people often could demonstrate that you are dependent on that one job, and therefore, an employee.

The broadness of AB-5 is problematic and should signal to employers that they consider updating the classification of their workers to employees.

Does it Affect Me if I’m not in California?

You might think this isn’t relevant to you because you don’t produce films or videos in California. While that is true for the present, you should still pay close attention because historically, wherever California goes, other states often follow. Here are a couple of examples:

  • In 2004, California was the first state to mandate paid family leave at work. Many other states were quick to follow including Rhode Island, Washington, New Jersey, and New York.

  • In 2016, California was the first state to pass a $15 minimum wage bill. More than a dozen states have since done so too.

So, while other states have not yet passed an official law similar to AB-5, it is predicted that many states will follow.

Going Forward

Although there are many way to address AB-5, from fighting it in court to making all your contractors become LLCs, I believe taking these three simple steps is the best approach.

Modify your agreements. Adjust all independent contractor agreements currently being negotiated to include a clause regarding what may occur when AB-5 goes into effect. This clause would include language stating that all payment obligations still apply, that the employer still has a right to all content and services agreed to, and that terms shall only change as necessary to comply with AB-5.

Add a production fee. Add an additional 15-20% per new employee into your new quotes so your production doesn’t take a hit. If asked, “why?” explain that the government doesn’t see film teams as independent contractors any more so we have to pay them more. It’s not ideal, but it is simple.

Hire a payroll company. Although you could hire extra crew members to manage your payroll, entertainment payroll companies are better equipped to deal with AB-5. They can onboard workers as short term employees easily and serve as their employer of record, saving you the hassle of dealing with the changes.

Final Thought

As with any legislation, the effects can never be truly known until after a law is applied. But even if changes to the law come quickly, AB-5 will be law for at least a full year before any new exemptions are carved out. Companies must be ready to comply on January 1.

 

 

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