InsideHollywood Newsletter 2005/08

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~~~~ InsideHollywood.Info Newsletter ~~~~

An online information ezine dedicated to teaching you all about Hollywood and the Film and TV Entertainment Industry.

August 01, 2005
Issue #2005-08

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# Introduction
---- Hollywood Jobs eBook almost here.

# Designing a Career
---- Above The Line Job Descriptions

# Things of Interest
---- The NAB Post and Production Show

# FAQ / Q&A
---- None this week

# Tell us what you think
---- Make this newsletter even better by submitting questions
and what you think of this newsletter.


Dear Subscriber,

My UCLA class has been going great over the past few weeks. It is giving me great ideas for future newsletter topics.

Hope you enjoy this issue....


# Subject: Above The Line Job Descriptions

Some people were asking me the difference of some above the line jobs and how to get them. So, I thought I would write each month a description of each above the line guild and the jobs that encompass them.

Before I start with the top dog, the Executive Producer. Let me breakdown the Producing group that would be affiliated with the Producers Guild (PGA):

Executive Producers
Co-Executive Producers
Supervising Producers
Senior Producers
Line Producers
Associate Producers
Production Mangers
Post Production Supervisors & Managers
Production & Post-Production Coordinators

First I should explain that there is a different definition and job function of an Executive Producer in Film and in Television.

In Films or Motion Pictures the Executive Producer is the money person. It is their job to obtain funding or financing for the film. They make the deals, put together the production team. They have the final word when it comes to any part of the expenditures. They work very closely with the Line Producer and the Director. They are also involved with the marketing and distribution of the film.

In Television, the role is very different. 90% of the time the role of the Executive Producers is the creator/writer of the project. He or she is more like a Producer and this person is there from the developing of their script through casting, shooting, post-production and delivery of the show.

If this person has not done Television and or has no experience in producing a show, the network will bring in what they call a show runner. This person can be a Writer or Producer and will have experience in running a show and understand all aspects of production and will have a track record. Hence the name "Show runner." They work hand in hand with the Executive Producer / Creator / Writer. They will give this person either the Executive Producer title or Co-Executive producer title.

Since we are on TV the majority of the Producers title on the show credits from Supervising to Associate Producers is part of the writing team. There is now a debate with the PGA and maybe soon they might create strict definitions of the Producers function. But as of now, in TV it will be 90% of the writing team.

The other 10% is the Line Producers who is the key and back bone of the team. It is their responsibility to make sure that the show is on time and on budget. They work closely with the UPM (Unit Production Manger) DGA Guild member and will be discussed next month.

The Post Production department will consist of a Co-Producer, Associate Producer, Post Coordinator and Post PA. The Post PA is not part of the guild and their job is primarily the runner for all functions in post production since they have to delivery dailies to the network, executives as well as all the cuts and other functions of Post.

The Co-Producer job is to create the budget for Post which will include the vendors and all Editors; this includes the film, sound and music editors and visual effects supervisors. The vendors will range from Post Production facilities, Labs, audio, etc. This person will sit in with the Film editor and help in the creation of the story, work with the executive 0producers, spot the shows when it is locked with the Sound Designers and the Composers, Dub the show and make sure it is delivered. They will create the Post Production schedule and be the lesion to the Network.

The Associate Producer sometime does the same function as the Co-Producer if the company will not hire a Co-Producer. Which I would not recommend. The responsibility of the Associate Producer (AP) is to work closely with the Co-Producer. His or her functions are to place times for the session based on the Co-Producers post schedule which includes, on-line, color correction, titling, dirt fixing, layback etc and supervise. They will receive the invoices and match them up with the PO and make sure the bottom line is correct before they hand it off to the Co-producer for signature.

Depending on the show and how busy it is the AP or the Post Coordinator will call the Actors and book the time for the ADR session. To save money (which is the name of the game) the Post department will make in-house dubs for the Executives and others. This is set up in the Post department and the Post Coordinator is usually responsible for this function as well as making sure there are enough supplies, tape stock etc. All FedEx and materials that have to be delivered will be labeled and sent out via the coordinator.

Production Manager usually works at the Broadcasting Network. They coordinate and manage the production of a TV show, from booking guest, performers, crew to budgets.

Production Coordinators are working very close with the Producers and the Production group. They will do all the coordination with the actors, help on the set and work closely with the Production team.

If you have an opportunity to work on a show in any one of the above job functions and you are interested in joining the Producers Guild (PGA) or even if you would like to link onto their site for additional information on events or functions. Here is their site:

If you are interested in joining here are some important things you need to know:

~~ You have to have received on-screen/on-air credits in one of the categories I mentioned above within the past 7 years.
~~ Film: At least two feature films that have had broad domestic or verifiable international theatrical release, subject to PGA Council requirements.
~~ Television: At least two long-form television programs (MOW's, movies, etc.) or thirteen weeks of episodic or twenty-six weeks of non-episodic programs that have been marketed broadly in the domestic territory.
~~ New Media: At least two productions that have had broad domestic or verifiable international consumer release on any of the following platforms: DVD, CD-ROM, Game Console, Wireless, Interactive/Enhanced Television, Internet/Broadband. ( Additional requirements relative to distribution and reach are listed at )
~~ Other: Recommended for membership by the Membership Committee due to sufficient equivalent production experience that justifies membership as part of the producing team.

Credits for commercials, promos, PSA's, infomercials, music videos, student films, foreign-airing shows and local broadcasts are not currently eligible for consideration. In addition, membership is approved by the Board of Directors. All applicants must have actually performed the duties reflected by the credit received (as they are known within the entertainment industry). And, their qualifications must be verified by one referring PGA member or two industry references with direct knowledge of the applicant's production experience.

You will need to supply them with references along with a bio or resume that must accompany the application. If you do not you will get rejected.

Additionally, here are some key jobs sites that you might want to look at. If you are interested in more sites for jobs see my eBook since there are links to many sites including all the major studios and facilities.


If you are looking where to send your resume to get jobs in the Film or TV Entertainment Industry or more tips and tricks, make sure to check out my upcoming eBook on how to find a Job in the Entertainment Industry - "Show you want to be in Show Biz?"


# The NAB Post and Production Show
New York, NY
November 15-17, 2005

The NAB Post+Production Show, produced in partnership with Future Media Concepts, will feature dozens of training sessions in production and post-production techniques and an exhibit floor that showcases the latest audio and video content creation technologies.


We would love to hear what you think of this issue of the "InsideHollywood.Info" Newsletter. And of course, if you have any suggestions for upcoming issues that you'd like to share with us, please send those, too!

Please send us your questions so we can answer them in upcoming issues. Your questions will only make our newsletter better.


That is it for this issue of the InsideHollywood.Info Newsletter. Until next time....