Duties of a Producer

Making a television commercial is the experience of working in a virtual corporation. The majority of the company is hired specifically for that project. A commercial producer is the project manager. Assembling a crew requires understanding each person's job, each person's personality, and the needs of the project. By putting each crew member in the position they are most qualified to do; by providing the resources they need to do their job well; and then creating an atmosphere where excellence is rewarded, projects are completed on time and on budget, the experience is fun, and everyone leaves feeling satisfied.
 
A typical commercial production might take me a week and look like this:
 
BEFORE THE SHOOT
 
* Get the call from the production company and block out the dates they desire
* Receive budget and storyboards from executive producer
* Discuss crew, equipment, prop, wardrobe, talent and camera needs with director
* Put crew on hold, check rates against budget, make adjustments
* Discuss equipment needs with crew
* Order needed equipment and check projected costs against budget
* If applicable, book casting agency to cast talent
* If applicable, get hero product from client via agency (hero product is the product used during filming, so often these are prototypes and must be kept in perfect condition until shooting.  Every so often, hero product is a mess and that requires a whole ‘nother set of problem-solving activities, which might include hiring a “hero prop person” to make a special prototype). Hero props might also include some kind of special effects, so book a special effects company.
* Arrange accommodations for clients and agency (this could include travel to and from airport, hotel accommodations, and travel to and from the set).
* Determine if this will be a location shoot or a studio shoot.  If a location shoot: meet with location scout and director to determine what scout will be looking for.
* If we’re in the studio:  meet with set building company and director to determine what type of set we will need.
* Get casting choices to director and wait for his/her pick.
* After talent is chosen, meet with wardrobe stylist and director for wardrobe look.
* Meet with prop stylist and director for prop choices.
* Buy appropriate film stock and put it in the refrigerator.
* Look at location photos; pick several to visit in person.
* Take the director on a location scout, select hero location.
* Call the city and get film permits and, if needed, police, security, etc.
* Send location scout out to prep the neighborhood (this includes putting up “no parking” signs, dropping fliers at the nearby houses, and getting contracts signed)
* Book a “tech scout” for the department heads the day before shooting.
*  Book development time at the lab.  If it’s local, be sure you know what the latest drop off time is for film in order to get your dailies back the next morning.  (Dailies are the footage you shot the day before, unedited).  If the lab is out of town, arrange for counter-to-counter service so the film is picked up at the airport and taken to the lab by their cut-off time.
* Book editing time according to client’s needs.
* Make sure you have the hero product well in advance in case there are problems that need solving.
* If you’re building a set, visit the set and see that it is coming along as planned and is to the director’s specs.
* Order catering for prep day and shoot day.
* Put together a production booklet with the following information:
1. Production company name
2. Director
3. Agency
4. Client
5. Crew names and phone numbers
6. Vendors names and phone numbers
7. Equipment
8. Location and maps
9. Call sheets for pre-production day, shoot day and wrap day (call sheets are the communication center – listing where and when each person and/or equipment will be expected and all information that will make the job run smoother)
10. Storyboards
11. Shooting schedule and breakdown
12. Special effects and/or gadgets
13. Other
* Pre-production meeting the day before shooting:  all department heads meet (Grip, Electric, Props, Wardrobe, Camera, Special Effects, etc).   Pre-pro booklet is gone through from start to finish so everyone knows what the day looks like, what is expected, and what our outcome will be at the end of the shooting day.  If we’re shooting on location, we’ll need a van and driver to take us to the location.  Check with the department heads for any last minute changes to equipment orders.  Practice any special effects to make sure they do what they’re meant to do.  If agency and client are in town, make sure they have transportation to and from the pre-pro meeting.  Look at all wardrobe and prop choices and adjust to any new demands.
* Put out any fires that have arisen from not having the hero product, or not having the set finished, or the special effects gadgets aren’t working properly, etc.
* Adjust the budget to reflect changes in crew/equipment, or overtime hours in the prep. 
* Make sure everyone has his or her call time for the shoot day, including talent.
* Arrange to get agency and client to the set in the morning.
* Make up shooting boards for tomorrow and hang them on wall (shooting boards are blown up storyboards with each different setup shown, and the amount of time given to complete that setup.  As the setups are completed, a large red X is put through the scene, showing everyone the progress being made).
* Take agency, client and director out to a fancy dinner.
 
 
 
SHOOTING
 
* Arrive early to the set.  Check to see that the craft service table is filled with breakfast foods and coffee, parking is handled, and all crew and equipment are where they are supposed to be. 
* Crew begins first set-up.  Make sure everything that’s needed is there and ready to go.  Handle any unexpected problems that may arise from missing equipment, location issues, miscommunications, etc.
* When agency/client arrive, walk the line between giving them what was in the bid, and variations they ask for during shooting.
* Make sure talent fills out their paperwork.
* Approve or deny any requests for additional equipment, props, etc.
* Keep the shooting momentum going – make sure the next set-up is being prepared (if possible) so there is minimum waiting between set-ups.
* Know at all times how much money you have spent/are spending, so when the agency asks “how much would it cost to add this shot” you can spit out overtime numbers without hesitation.
* Be prepared to get overage forms signed if necessary (an overage form is the Agency's commitment to pay extra money).
* Make sure all exposed film gets taken to the lab by the deadline, and that the script notes are included.  If shooting runs past deadline, make sure all exposed film gets to the lab before the deadline.  The rest can get in a later film run.
* Oversee wrap at the end of the day (this includes some type of celebration – it could just be beer, or it could be a wrap party, but each job has a celebration at the end of filming).  Be sure client is happy with their product, and get them back to their hotel.
* Collect time cards or invoices.  (This often includes negotiating, as invoices can be different than expected).
 
WRAPPING
 
* Make sure developed film shows up at the editing studio on time.
* If necessary, attend edit.  
* Balance and reconcile all department budgets.
* Be sure all unused props and wardrobe get returned.  Used props and wardrobe are stored in the prop room, or they may be sold to the crew for half price.  Either way, prop and wardrobe budgets must be accountable for every penny.
* Collect all bills coming in for this job (equipment, lab fees, edit fees, etc).
* Organize incoming bills, time cards, invoices, petty cash, talent payments, etc. into one cohesive binder and turn it into the Executive Producer.  Have actual figures versus budgeted figures so Exec. Producer knows exactly how much was spent.  If you’ve gone over budget, be prepared to explain why (it better be good!).  If you’re under budget, yaay! If you've done your job well, the Executive Producer knows to the penny what that job costs, and what bills are coming in.
* At all times, prepare for the unexpected.