Speaker 1: Hi, and welcome to Class 6 of Science Fiction Filmmaking 101. In this class, I'm going to briefly touch on how the scheduling and budgeting were done for the BEYOND, the two producing tasks which are constant core things that drive the production throughout. When scheduling the shoot, it's important to break it down into blocks of dependents. And a big dependent on the BEYOND was the locations I wanted to shoot in, and the availability along with access we had coupled with restrictions such as time we had as part of the location deal we made. This schedule should be done in a shared Google Doc, so that your line producer, production manager or whoever is looking after the production team can access it and add to it if needed, but more importantly it becomes a live element of the production in terms of communication. Now I tend to keep the schedule simple in terms of layout, with information like the shoot date, the location, what the scenes are, what the setup is in relation to the script and lastly what actors and crew are required on those days. Once the schedule is done, the information in that schedule is then used to create the call sheet for each shoot day. Now the call sheet is the only source of information that everyone on the crew will refer to in order to plan each of their tasks and travel for the shoot day. So therefore it should be as clear and concise as possible. Key information being is the unit call time for all crew to be on set. This would also include breakfast serving time and the location of that. The production manager's number should be on the call sheet as the main point of contact and usually the directors and producers and talent contact details are labelled as CO Contact Office or kept blank for security purposes. The next part of the call sheet is the breakdown of the day from start till wrap time with allocated lunch in between. Each row on that call sheet would have the scene numbers from the script we will be shooting, the setups and the cast required. With cast members that require make up, there will be a separate section on the call sheet with allocated make up time. Standard practice requires that all call sheets should designate a first aid person on set along with the nearest emergency services near the location. Also worth including is a map along with directions and parking. Scheduling is also crucial during post production and works hand in hand with the deliverables milestones set out from the distributor or key festival screenings you may have planned for the sale of the film. So once you have those dates locked in, it's really about working backwards from that date to ensure you have allocated enough time for post production and visual effects, right through to things like quality control checks which are all required as part of the post process in order to deliver the film for distribution. For the post schedule on the Beyond, I used a colour code system for blocking out schedule for each department such as sound design, music, colour grading, visual effects and editorial so that it was clear which department was relying on which deliverables coming in first in order to carry out the task. In order to do this smoothly, we broke up the film into three reels, so when VFX was completed for all the shots in reel one for example, then that would go into colour grading while VFX for the other two reels were being worked on. This actually allowed for a non-linear reliant workflow, meaning we don't have to wait until all the visual effects was completed before moving to colour grading stage. When it comes to budgeting, it's all about spreadsheet. So the first part of budgeting is the proposed budget based on the script breakdown. It's pretty much where you map out all the costs you forecast as required to do the production and allocate an overall cost for each department such as camera rentals, costumes, casting, visual effects, locations and so on. And pretty much every resource you need to spend money on is mapped out in this proposed budget. The second part of the budget is the budget tracker, which is often known as the actual budget. Now this gets updated as costs are negotiated and locked down. Once the shoot is done, you can use the same spreadsheet to track who has been paid plus any overages that may have occurred within the contingency budget allocated. Now it's worth keeping the accounts of your production budget tight and updated as an ongoing process, so that it's a smooth process when it comes to claiming VAT, taxes or offsetting production costs against your company tax at the end of the year. For more information, visit www.fema.gov