 
|
 |
|
|
WIF - SEATTLE CHAPTER WORKSHOPSDay 1: PRODUCTION MANAGING FILM BUDGETS & COST REPORTS - click here for more infoDay 2: PREPARING A FILM BUDGET WITH MOVIE MAGIC BUDGETING© - click here for more info
|
|
Note: within the film industry the term “managing a budget” is the equivalent to the public accountant's term “predicting & controlling expenditures”. Additionally, the film industry term, “Cost Report”, is the equivalent to the public accountant's term “Financial Statements”.
Day 1 of 2 : Production Managing Film Budgets & Cost Reports
Dates: Seattle, May 1st, 2010
Time: 9:00AM - 5:00PM
Where:
Hampton Inn & Suites, Downtown Seattle, 700 Fifth Ave North, Seattle, WA 98109 See Map
For: Line Producers, UPM's, aspiring Producers, CPA's/etc interested in Auditing the film production for State Tax incentives, any "Indie" trying to raise financing.
( 8 Hours)
Description: - The Film Budget is made transparent through a series of very practical applications with much participation by the attendees. It also includes examining the methods used by industry leading budgeting software. - The Weekly Cost Report is thoroughly reviewed through a series of very practical analysis applications that enable the attendee to manage, or to audit this very important report. Again, there is much participation by the attendees through a series of practical drills. - The Cost Control Systems is new to this workshop. It is a simple, but very practical, review of the 6 basic accounting control processes which the Line Producer or Auditor needs to know. The forms used in the industry are reviewed and the common controls are examined for application. Objective: Participants will identify and practice the specific ways to - production manage & make changes to film budgets, and - production manage & present the film production cost report in such a way as to be able to defend, challenge and manipulate the both the film budget and universally standard cost report without being tongue-tied. Who Should Attend: - Aspiring Producers,Production Managers, Line Producers, Production Keys,etc. - Public Accountants (who will audit the final Cost Report) to be able to understand the terminology & methodology of the Film Industry. - Assistant Film Accountants can use the material in this workshop as a way to upgrade to a Key Film Accountant. Major Topics:
Prerequisite: Anyone with some experience or education in film production or accounting Instructor:John Gaskin has worked in the film production business since 1985, primarily as a Film Production Auditor. John has worked on 45 different productions in 5
John also has Supervising Producer credits - see his resume on IMDb. In his previous seminars he was touted as the Billion Dollar Man because the accumulated budgets that have been under his control has exceeded a Billion Dollars. John's book, "Walk The Talk" is required reading at the University of Southern California's Cinematic Arts (Peter Stark Graduate Producer's Program). John has numerous internet articles on Google Knol and EzineArticles and enjoys answering your questions on his blog - filmproduction. John has several 'Testimonials' but his favorites are from Ron Howard and David Valdes (David worked with Clint Eastwood for a chunk of his career and has been an independent producer for some time in his own right). Click here to see Ron Howard's letter, and here for David Valdes's hand written note. Another testimonial that John is proud of is Peter D. Marshall's book review. Peter is a 35 year veteran film director and instructor. Visit John's Web Site for more testimonials. Here is a 2 minute clip of testimonials from a workshop in Detroit:
Continuing Education Credits: 1. Production Managing the Film Budget 4 Hrs TB 2. Production managing the Weekly Cost Report (Financial Statements) 3 Hrs AA 3. Managing the Cost Control Points During Production 1 Hrs AA Total Hours for CPE 5AA 3TB 8 Hrs Day 1 Workshop Detailed Agenda Day 1, Part 1. Production Managing the Film Budget 4 Hrs TB
a) Overview of Film Budgets – Categories and Key Terms: b) A More Detailed Examination of the Film Budget c) The Details of Industry Leading software and How to Make the Film Budget TRANSPARENT Note: I give another course to train students in the application of film budgeting software in coordination with a software sales company like EP or Showbiz.
Day 1, Part 2. Production Managing the Weekly Cost Report (Financial Statements) 3 Hrs AAThe very confidential Weekly Cost Report measures how the department, the location, the production, etc. is doing as compared to the Approved Budget. This is the statement audited by the Public Accountant for Tax Incentives. Knowing how to read, influence, defend or challenge the film production’s Weekly Cost Report is key to surviving and expanding in today’s very budget conscious Film Industry. Not only is it important for Public Accountants to know this financial statement well, it is safe to say that for a Producer, Line Producer or Production Manager, the Weekly Cost Report is a career maker or breaker. In most cases, only the Studios, Financiers, veteran Producers and experienced Unit Production Managers ever get to see this report. The practical applications to real-life cost reporting situations are not available in Film Schools, nor even to most crew working in the business. Introducing the Weekly Cost Report Concept of timing – the cost report is issued weekly at a pre-assigned day (usually a Friday or a Monday). This keeps the pressure on the Producers, Production Manager and Film Auditor. Define the columns of the Weekly Cost Report Reading the Estimates-To-Complete Column Practical examples given for different estimated Stunt man-days. Attendees practice the effect of changing the Estimates-To-Complete on the Cost Report. The concept of weekly “period closings” is presented as industry specific. The Weekly Cost Report – PO’s, Check Requests, P/C A practical example is given of a missing Purchase Order for a Steadicam Rental at $3,000/Week. The effect on the Cost Report is given when a Purchase Order is not relieved when entering an invoice. Example – how to review the PO’s entered to the system for and what to look out for. Some practical applications are put to the attendees: Example – an invoice has come in the mail quoting a PO number which isn't posted in the Cost Report. What do you do? How would that affect the cost report? Example – an invoice has come into the accounting area which is quoting a PO which has been previously relieved. What do you do? How would that affect the cost report? Example – a PO is in the system and is getting old – normally it would be paid within that time period. What do you do? How would that affect the cost report? Etc. Example – the Wardrobe department has 4 people in a buying frenzy. You see that there are a total of 420,000 outstanding in Wardrobe petty cash” floats". What do you do? Example - yesterday you approved a $15,000 check request for (site fee, construction lumber, etc). The Film Accountant has just brought you the cost report for review. How do you assure yourself that the cost has been processed and is reflected in the cost report? Etc. The Cost Report - Projecting Costs Then Using A PO Example – Hotel invoices not PO’d for Cast A Day Out Of Days (DOOD’s) example is shown and gone over. The attendees are asked to estimate the cost of a hotel in their area for that cast member based on the DOOD’s. A PO is drawn up by the attendee for two of the key cast. The PO is entered to the G/L. The effect on the Cost Report is noted. This process is done again for the same Cast, but this time for their flights from the East (or West) coast, depending on the attendee’s location. The effect on the cost report is noted.
The Cost Report Projecting Costs to Completion We examine the Costs To Date to see the date to which the Extras have been paid. We ask the 1st Assistant Director for an estimate of the number of Extra Man-Days. We estimate the future costs of Extras through to completion. We compare that estimate with the Estimated Final Costs available on the Cost Report. A different example is given of this to the attendees and they work it out for themselves in conjunction with John. A similar example is done with the Stand-In’s The Cost Report Projecting Costs to Completion – Labor This is a tricky projection that is somewhat arithmetical. I have prepared an Excel worksheet as the demonstration and a few departmental cost report presentation. Because this is a difficult step some review of labor hours worked and hours paid (Overtime and other penalties) will be presented and practiced. We will work through a few departments until you get understand the concept. Then attendees will do several themselves based on presentations given to them, submitting results. John will go over the results with the attendees.
The Cost Report Projecting Costs to Completion – Fringes This is a tricky projection that is somewhat arithmetical. I have prepared an Excel worksheet as the demonstration and a few departmental cost report presentations. Because this is a difficult step some review of labor fringe rates for various categories of unions and guilds (and situations) will be presented and practiced. We will work through a few departmental fringe costs until you get understand the concept. Then attendees will do several themselves based on presentations given to them, submitting results. John will go over the results with the attendees. The Cost Report – Offsetting Over-Budget Costs Offsetting the Variances within the Department – an example is given with the Set Dressing Dept. The attendees will do an example for another department based on my presentations. Offsetting Variances Among Different Departments. An example will be given of this. The attendees will do an example for themselves, based on my presentations.
The Cost Report Presentation-Acceptable To Financiers The Cost Report is presented with a covering memo and a summary page of all offsets and over/under budget line items. There is an industry specific way of making that presentation. John will present an acceptable Cost Report in full. The attendees will be emailed this Full Cost Report in the first week of the live on-line session. The attendees, with hints from John, will review each department of the full Cost report, making comments as a Key Accountant for each department. John will track the Over-Budget items and the Under-Budget items, finally resulting in a presentable Weekly Cost Report. Day 1, Part 3. Managing the Cost Control Points During Production 1 Hrs AAMany Line Producers come to the production from their experience as an Assistant director, a developer, commercial production, a 'Show Runner' on variety programs, etc. This section of the course provides a way for those people to learn the 6 basic cost systems and how to control them before they are incurred. This section of the course alone is a career booster as a Producer or Production Manager. Introducing the 6 Basic Cost Systems and How to Control 1. The Purchase Order – an example is given of where and how the Line Producer, UPM and Film Accountant control this cost as it occurs. 2. The Vendor Invoice Order – an example is given of where and how the Line Producer, UPM and Film Accountant control this cost as it occurs. 3. Check Requisitions Order – an example is given of where and how the Line Producer, UPM and Film Accountant control this cost as it occurs. 4. Petty Cash (not so petty in film production - often in the $0 to $60,000/week range) Order – an example is given of where and how the Line Producer, UPM and Film Accountant control this cost as it occurs. 5. Payroll Order – an example is given of where and how the Line Producer, UPM and Film Accountant control this cost as it occurs. 6.Journal Entries (records financing interest, charges from the studio, etc) Order – an example is given of where and how the Line Producer, UPM and Film Accountant control this cost as it occurs. 4. Opportunities What a Producer, Production Manager, or Film Auditor WANTS and what he/she NEEDS. The Resume – how to convince the Producer, Production Manager, Film Auditor, etc that you’re the right person. Ways & means to gather addresses and to meet film producers, production accountants, etc. Real examples of how this has worked for others. Overall Sum up and Q & A
Day 2 of 2: Preparing A Film Budget Utilizing MMB
Dates: Seattle, May 1st, 2010
Time: 9:00AM - 5:00PM
Where:
Hampton Inn & Suites, Downtown Seattle, 700 Fifth Ave North, Seattle, WA 98109 See Map
For: Line Producers, UPM's, aspiring Producers, CPA's/etc interested in Auditing the film production for State Tax incentives, any "Indie" trying to raise financing.
Description: Using an existing film budget as a model (Prep 4wks, Shoot 5wks, Post 12wks) create a film budget from scratch using MMB©, or EP Budgeting©.
Objective: Participants will practice the specific ways to create a budget from scratch using the model budget and calendar of events as a guide. The emphasis is a hands-on approach to learning MMB and to leave with a model budget which can be utilized on your future projects. Who Should Attend: - Aspiring Producers,Production Managers, Line Producers, Production Keys,etc. - General Accountants who would like to enter the field of Film Accounting gaining a knowledge of the terminology & methodology of industry leading budgeting software. - Assistant Film Accountants can use the material in this workshop as a way to upgrade to a Key Film Accountant. Major Topics:
Prerequisite: Anyone with some experience or education in film production or accounting.
Day 2 Workshop Detailed Agenda Creating a film budget from scratch, using MMB© or EP Budgeting©: for Line Producers, AD’s and Film Production Accountants. This course should be given in coordination with a payroll service. Familiarize the attendees with a model final budget and demonstrate how it will be viewed by financiers, executive producers, bonding companies, etc. Familiarize the attendees with the budgeting software’s overall features and how they are utilized by production mangers, accountants, etc. Familiarize the attendees with the navigation buttons, Demonstrate the correct way to prepare a budget for a Non-Labor line-items, utilizing the three main features (Globals, Fringes and Groups). Demonstrate the main features, one at a time, of Globals, Fringes, Groups and have the attendees practice each - both as per the model budget, and also in a new budget. (Each attendee entering to their own laptops). Demonstrate the correct way to prepare a budget for one ATL Labor account (Stunts) and have the attendees practice entering to their own laptops/demo computer. Reference to be made to Globals, Fringes and Groups. Demonstrate the correct way to prepare a budget for one BTL Labor account with the attendees (Chief Electrician-Gaffer) and have the attendees practice entering to their own laptops/demo computer. Reference to be made to Globals, Fringes and Groups. Demonstrate the correct way to prepare a budget for kit rental fees (Chief Electrician-Gaffer) and have the attendees practice entering to their own laptops/demo computer. Reference to be made to Globals, Fringes and Groups. Work with the attendees to copy paste, use magic buttons and libraries. Work with the students to format their printouts in a professional manner. Depending on the extent of hours/days available for the workshop, work towards finishing a budget that the attendees can re-work and expand upon in the future for their own projects. In addition to a copy of my book and any course materials, all attendees will receive a CD containing an example budget, their local area’s union rules and fringes, Excel examples of calculating SAG and crew OT and rest violations, screen-recordings of the steps learned above.
BOTH WORKSHOPS, SAT/SUN MAY 1/2, 2010 PROFESSIONAL MEMBERS Full Price $460.00
ASSOCIATE/STUDENT MEMBERS Full Price $500.00
NON-MEMBERS Full Price $525.00
ONLY SATURDAY WORKSHOP (Managing Film Budgets & Production Costs) , MAY 1, 2010
PROFESSIONAL MEMBERS Full Price $260.00
ASSOCIATE/STUDENT MEMBERS Full Price $285.00
NON-MEMBERS Full Price $300.00
ONLY SUNDAY WORKSHOP (Preparing Film Budgets With MMB) MAY 2, 2010 PROFESSIONAL MEMBERS Full Price $260.00
ASSOCIATE/STUDENT MEMBERS Full Price $285.00
NON-MEMBERS Full Price $300.00
Participant's Understanding & Refund Policies Participants Understanding: John Gaskin will be consulting the participants understanding of the materials during the workshops with practical drills, direct questions, short quizes, etc. The number of “Contact Hours” during the course will be provided to you for your purposes. Attendance & Participation: Attendance will be taken. The “Clock-Hours” and the results of the attendee’s practical assignments and random quizzes (both verbal and otherwise) will form an integral part of John Gaskin's assessment of your understanding of the materials. Refunds Policy: All fees paid by the applicant shall be refunded if the applicant is rejected by the instructor (John Gaskin) before enrollment. An application fee of $25.00 may be retained if the application is denied. All fees paid by the applicant shall be refunded if requested within 3 calendar days after starting the workshop. All refunds shall be returned within 30 days.
|
|
|
|