Production Wrap Duties

Following are the loose ends that need to be completed before turning over the show to the Post Production department.  These duties are generally handled by the Production Office Coordinator with a lot of assistance.

 

PRIOR TO COMPLETION OF PHOTOGRAPHY:

  1. Start cutting down on office supply orders, bottled water,  etc. Don’t order anything more than what is absolutely necessary to get you through till the end of the show.
  2. Schedule a day to have a cast and crew photo taken. (Try for a day when the majority of the cast will be there. If that isn’t possible, call and invite those who aren’t scheduled to work that day.) Schedule early enough to distribute the photos before final day of shooting.  This will save the expense of mailing an 8 x 10 print to each member of the cast, crew and staff.  If not ready before completion of photography, prepare address labels so the prints can be mailed.
  3. Start planning a wrap party. Design an invitation or notice and distribute accordingly.
  4. If not already done, decide on and order show gifts. If your budget can afford it, order enough for your favorite vendors, film commission reps and production executives.  Whether the gifts are distributed on the set prior to the last day of shooting, or at the wrap party, tag gifts with the names of cast, crew and staff members and divide them by department. Using cast and crew lists, check off each person’s name as they are given their gift. This way, no one is inadvertently left out.  Don’t forget Post Production Personnel.  Check with the Post Production Supervisor for a head count.
  5. Start assembling final crew, cast and contact lists. The crew lists, in particular, should be available to distribute prior to the last day of shooting.
  6. Make a sweep of the office and collect things such as film commission information packets, headshots submitted by Casting, and any type of demo tape—return anything that can be returned.
  7. Check with department heads to see if there are any rentals that can be returned early.
  8. Return any office equipment no longer being used.
  9. After verifying all originals are on file, collect extra copies of outdated crew lists, cast lists, contact lists, schedules and day-out-of-days, and dump them in the recycle bin.  Shred any paperwork that contains confidential information.
  10. Ask department heads to start assessing their L&D (loss and damages).
  11. Inform vendors of when the last day of filming will be and when returns will be made. Also, start scheduling necessary pick-ups.
  12. If shooting film, Tally your Raw Stock Inventory and check it against camera department totals. Anticipate the amount of short ends you will have for sale.  Call companies that buy raw stock short ends, and find the one that’s currently offering the best price.
  13. Scout around for new productions about to start and talk to their production coordinators.  One or two might be interested in buying your leftover office supplies, and any office items such as lamps, fans, heaters, toaster oven, coffee pots, etc. Prepare an inventory (with prices) and fax it to those interested.  Check with Post Supervisor to see what items they might need to complete the delivery of the show.
  14. Review the List of Deliverables to be sure you have all the required documents to hand over to the Post Production Supervisor.

 

WRAP PERIOD:

LEGAL

  • Verify that all contracts, agreements and releases have been countersigned, returned, copies distributed and filed

LOCATIONS

  • All signed location agreements have been returned, copies distributed and filed
  • All practical locations have been thoroughly wrapped, cleaned, and restored to original (or better than original) condition and owners have signed a Location Release form

ASSETS

  • Collect all asset inventory logs
  • If shot on film, balance raw stock inventory, match totals to assistant cameraman’s records; account for differences, if any
  • Pull items needed for re-shoots, added scenes and/or inserts
  • Prepare a list of items for sale (with prices).
    • This list goes to the producer(s), director and production executives first, as they usually have first dibs on the items being sold.
    • Often, arrangements are also made in advance for cast members to buy articles of their wardrobe or set pieces they have expressed interest in.
    • Remaining items (with price tags) are often displayed in an open area (stage or large office) where staff and crew members can shop.
    •  Make sure to let everyone know in advance when and where these items will be available to look at and buy.
    • Select one person (production coordinator or someone in Accounting) to be responsible for keeping tabs on what is being sold and for collecting the money.

RETURN

  • Equipment
  • Vehicles
  • Walkie-talkies
  • Pagers/cellular phones
  • Props
  • Set dressing
  • Wardrobe
  • Greens
  • Flats/cycs/backdrops

SELL OR STORE

  • Short ends (if applicable)
  • Polariod™ film (if applicable)
  • Props
  • Set dressing
  • Unused expendables
  • Computer software
  • Fans/heaters
  • Coffee pots/toaster oven
  • Tools/lumber/building supplies
  • Wardrobe
  • Office supplies, lamps, answering machine, etc.
  • Arrange storage of assets not sold, if company does not already have storage facilities

PAPERWORK

  • Final Cast List
  • Final Crew and Staff list
  • Final Script with all revised pages
  • Final Shooting Schedule
  • Final Day-Out-of-Days
  • Final Location List
  • Final Contact List
  • Prepare Wrap Books
  • Organize and pack-up production files
    • Collect files from the Art Department, Location Department, Producer’s Assistant, UPM, Production Supervisor and Coordinator and discard duplicates (keeping originals whenever possible).
    • Pack files in portable file boxes; label boxes with the name of the show and number the boxes (Box 1 of ___, Box 2 of ___, etc.).
    • Type-up an inventory of the files contained in each box (indicating the box number at the top of the page); and in addition to a master inventory list, tape a copy of each box’s inventory on the top of that box.

INSURANCE

  • Submit all insurance claims not previously submitted
  • Prepare breakdown of pending and unsettled claims

GUILD RELATED

  • All SAG contracts have been countersigned, returned, distributed and filed
  • Submit all SAG Production Time Reports
  • Submit final Casting Data Reports
  • Submit final SAG Cast List
  • Submit all DGA Weekly Work Sheets
  • File DGA Employment Data Report
  • Final DGA and WGA screen credit approval.

ACCOUNTING RELATED

  • Make sure all final time cards are submitted
  • Collect all refundable deposits
  • Close accounts and ask vendors to submit final invoices
  • Collect all L&D charges
  • Have all outstanding invoices approved and paid
  • Send out forwarding address notices
  • Collect outstanding petty cash
  • Prepare a 1099 list
  • Prepare a final vendor list (in alphabetical order)
  • Prepare a final budget
  • Prepare a final cost report
  • Prepare notes regarding all pending issues for the post production accountant
  • Turn all files over to the Post Production Supervisor or Accountant

CLOSING THE PRODUCTION OFFICE

  • Submit change-of-address to post office  (if necessary)
    Submit forwarding phone number to phone company (if necessary)
  • Return office furniture
  • Return office equipment
  • Disconnect phones and utilities
  • Cancel bottled water/coffee service
  • Return refrigerator
  • Pack up remaining forms and supplies
  • Remove all signs you’ve posted around the outside of the office and parking lot
  • Have office cleaned well and any necessary repairs made to qualify for reimbursement of your security deposit

TURN OVER TO POST PRODUCTION

  • Script Supervisor’s Final Notes
  • Script Supervisor’s Final Lined Script
  • Continuity photos
  • Final Cast List
  • Final Camera and Sound Reports
  • First draft of Screen Credits — Main Titles and End Credits (including all credits based on contractual obligations and union and guild regulations)
  • Copy of all Above the Line Contracts including Cast.
  • Copy of all Below The Line Crew Deal Memos
  • Copy of Complete Insurance Policy as well as any Claims processed
  • Copy of Distribution Deal (if applicable) including the Deliverables List
  • Copy of all Final Schedules
  • Copy of all Call Sheets
  • Copy of all Production Reports
  • Copy of Transfer of Ownership Letter
  • Inventory List of stored Production Assets as well as location and accesses to Storage
  • Set Production Stills and Contact Sheets
  • Publicity Materials including Interview Transcripts if available.
  • Production Notes
  • Copyright Registration
  • Copyright Report and Opinion
  • Chain of Title Agreements
  • Final SAG Cast List or Non SAG players and the time worked and amount paid
  • All information and data necessary to compute and pay all sums due under applicable collective bargaining agreements.
  • Chain of Title Affidavits:Certificate of Ownership
  • Summary of Lodging, Travel and Accommodation provisions from talent contracts regarding publicity services.
  • A summary of all premiere and/or festival obligations, including any travel, lodging and per diem requiremen
  • Signed copies of all agreements or other documents relating to the engagement of personnel in connection with the Picture entered into by Producer
  • Signed copies of all licenses, contracts, location agreements, waivers, consents and releases from the proper parties in interest permitting the use of any product, musical, literary, dramatic, copyrighted.
  • Documentation from each applicable guild and union:
    • Guild or Union’s approval of the screen credits
    • DGA waivers
    • WGA Notice of Tentative Writing Credits, if any portion of the screenplay or underlying material was written under the WGA’s jurisdiction.
    • If union, A completed IATSE Pension Plan Payment Percentage Proration form Exhibit E, to be completed by the production accountant

BEFORE WALKING OUT THE DOOR

  • Send out special thank you notes to those whose contributions meant the most to you during production
  • Prepare a detailed memo for the Production Executive or Post Productin Supervisor summarizing all on-going or pending issues (anything that might come up) and the status of each
  • Send files to the studio/production company
  • Have a final walk-through the office with the property manager before turning over the keys

 

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