ZOMBIE WEDDING BUSINESS PLAN
ZOMBIE WEDDING LLC 1234 MAIN ST. ANYTOWN, CA 00000 (000) 000-0000)
FOR EDUCATIONAL PURPOSES ONLY NOT A SOLICITATION FOR INVESTMENT NANCYFULTONMEETUPS.COM
FOR INFORMATIONAL PURPOSES ONLY
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ZOMBIE WEDDING LLC 1234 MAIN STREET ANYTOWN, CA 00000 | (000) 000-000 Zombie Wedding Executive Summary
● Zombie Wedding is a PG-13 Zombie Themed Romantic Comedy featuring rising Nick, Disney, and pop stars Rane Tyson, Michael Vorski, Melinda Weiss, Edward McKay, Cory Vanowen, and Teddy Vanowen. Cast agreements and credits attached.
● The production has a $5.3M Budget, of which $2M has been financed by CBI Bank based on $1.2M presales and $800K in estimated Louisiana state rebates. A further $200,000 has been provided by a single investor to cover development and packaging.
● A completion bond issued by Edward Financial Group ensures the film will be produced and distributed.
● Based on the film’s 14 week production schedule, and guaranteed theatrical release, first revenues should be received within five months of full funding.
● Producer David Becket’s previously produced projects include Zombie Death Dance, Unwelcome Undead, and the award winning Grave Concerns II.
● Director Tandy Singer’s feature film credits include Ouija Curse, War of the Dead, and Dead Eyes. She has directed three episodes of the Amazon Original Series Full Dread and the Nick Original Feature Blood Wellington. Gross revenues for Tandy’s feature films currently exceed $19M.
● Marci White has joined the crew as the producer’s rep and distribution strategist. She has participated in the profitable release of more than 41 independent feature films with gross revenues exceeding $300M. She has already leveraged her overseas relationships to raise $1.2M in pre-sales to Mexico, Brazil, Argentina, and Bolivia.
● Morgan Wilkes, our award winning cinematographer, lensed Zombie Death Dance, Unwelcome Undead, Grave Concerns II, Dead Eyes, and Lost Isle.
● Wendy Laroux has been attached as supervisor of SFX Creature Design & SFX Makeup. Her most recent credits include the Amazon Original series Full Dread and the Nick series Crawler
● Scotty O’Donnel, a seasoned post production supervisor, with credits from Lionsgate, Universal, and Disney, has signed on to handle Zombie Wedding distribution deliverables. His on set team will start logging and cutting footage on the first day of production.
● Wyatt & Wang have been attached as production attorneys. ABS will provide payroll services.
● Domestic distribution and foreign distribution forecasts were calculated by Xenon Film Metrix.
● If you have questions about this project, please contact Producer David Becket on (000) 000-0000.
This business plan is provided for information only. It is not a solicitation for investment.
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Synopsis
Romany is a Gypsy king who’s been undead for more than two hundred years and Julie’s the thrill-seeking co-ed who has finally captured his wicked heart. The wedding invitations have gone out, the guests are on the way, and tomorrow night our daring couple will tie the knot at Romany’s family estate in the heart of the Louisiana Bayou.
Except Julie’s sister Ty and her brother Ros will do anything to rescue their sexy sister from the clutches of the undead, and Romany’s cousins Paris and Merc will cut off Julie’s head before they’ll let their beloved king marry out of the clan.
Zombie Wedding is a sexy, scary, funny, romp through Shakespeare’s Romeo and Juliet, where the Capulets and Montagues are the Living and the Undead. The film is based upon the best selling Zombie Wedding comic book which has sold more than 22,000 copies here in the United States.
See Appendix A for the Zombie Wedding screenplay.
Screenplay Coverage
The Zombie Wedding Screenplay, based on the successful book, has received great coverage from seasoned development executives and industry experts for its innovative, funny, and touching screenplay. The screenplay has been analyzed by fifteen professional readers and, when appropriate, relevant notes have been incorporated into the shooting script.
“This is a terrific Zombie flick that brings something fresh to the screen. The characters, despite their comic aspects, have real depth and it’s easy to believe the hero and heroine are madly in love. I particularly like how secondary characters evolve in this piece.” -- Louise Channing, director of Development for two independent film companies and seasoned film and television producer.
“Zombie Wedding is a creepy classic zombie thriller with some great surprises. It has a twist that will surprise most viewers, and it has moments that people will laugh about after they leave the theater. This is more than just “another zombie movie” -- Wallace Franc, TV Writer and story doctor for multiple studios with many credits in horror and thriller genre.
“Zombie Wedding offers many creative elements that allow it to truly stand out from the pack. Character development is solid, pacing is good, and a lot of the film’s comedy and action will make it play well overseas because it won’t require translation.” -- James Wilson, seasoned distribution executive with ten years managing rights sales for independent films worldwide.
Our production’s most meaningful coverage has come from the professional actors and seasoned crew, quoted throughout this business plan, who have liked the Zombie Wedding script enough to attach themselves to the project. See Appendix B for more insight into our coverage.
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Target Market
Zombie Wedding’s target market is 15-25 year old males and females. To maximize revenue from domestic and international markets, the production team has made creative choices that will result in the film being rated PG-13.
Zombie Wedding Cast
The producers have attached Rane Tyson & Michael Vorski to play Julie and Romany. Letters of intent from Melinda Weiss, Edward McKay, and Cory Vanowen, and Teddy Vanowen have been solicited based on terms favorable to the production. See Appendix C for full documentation.
Julie
Rane Tyson is 22 years old and has worked as a professional actress for more than 15 years.
● Rane played a lead supporting role in Manderly Witch and Zombie Brigade. ● She played lead roles in School for the Undead and My Pretty Zombie. ● Her films have earned more than $100M at the US box office. ● She currently appears in the Disney Channel Series Sea Witch which has an estimated 30M weekly viewers. ● She has more than 8M active social media followers. ● About the role of Julie Rane says says “Sexy, sweet, smart, and Dangerous. I love this character!”
Romany
Michael Vorski is 25 years old and has worked as a professional actor in Russia, the UK, and the US. He currently plays Ivan, a lead supporting role in the Amazon Original Series Arising.
● Born in Russia, Romany studied at the Stanislavski school and has performed professionally from age 6 to date. ● Michael had lead roles in Zombie Death Dance, Dread, and Unwelcome Undead. ● Michael has 21M social media followers, and makes regular appearances at Comic Con, Anime Expo, and Zombie Con. ● About the role of Romany, Michael says, “This is exactly the kind of film my fans love.”
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Ty
Melinda Weiss is 19 years old and has worked as a professional actor since age 10.
● Melinda was cast right out of grade school to play the starring role in the Amazon Original Movie “The Ghost on Oak Street.” ● She’s a very physical actress, a competition swimmer with a black belt in both Karate and Kendo. A competitive marksmen, she recently appeared with her favorite Colt 44 in GQ’s Sexiest Women of the Year. ● She is currently playing a lead role on the NBC science fiction series VIRIX. ● Ty has 13M Instagram, Twitter, and Facebook fans and livestreams three times a week. ● Melinda says “I don’t usually get a chance to present a character this close to myself. Ty’s going to be fun to play.”
Ros
Edward McKay is 21 years old and has worked as a professional actor since he first appeared, at age 11, opposite Brad Pitt in The Kill Zone
● Edward has subsequently gone on to enjoy key roles in 30+ films, and appears as a recurring character on ABC’s “Dark Stars”. ● He also moonlights as a stand up comic, appearing regularly to rave reviews at the Improv and the Comedy Store. ● Edward has 17M Twitter fans and he is slated to appeared on the cover of Teen Magazine later this year. ● About Ros Edward says “Who doesn’t love to kick some Zombie butt? Seriously though, this is a great cast, I love the script, and the director’s amazing. I can’t wait to do this show.”
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Cory & Teddy Vanowen
Cory and Teddy, teen heartthrobs, and founders of the rock band VANOWEN, are making their screen debut as Paris and Merc, new recruits to the ranks of the undead and zealous acolytes determined to ensure the Zombie King doesn’t marry a “common girl”.
● VANOWEN tours constantly which gives them an opportunity to promote both themselves and our film to new fans. ● They have contracted to compose and perform a song for a key scene in the film which will be incorporated into the trailer and which they will play on tour. ● They have more than 21M Twitter and Facebook fans and they livestream on tour. ● About his role, Cory says “A great story and a great cast. This film is really perfect for usI can’t wait to get started.” ● Teddy says, “This is exactly the kind of comedy I grew up on. I can’t wait to tell our fans the project is greenlit.”
Zombie Wedding producers have negotiated contracts with these key casts members that include personal appearances at the sixteen city theatrical release and social media marketing for 30 days after the US premiere.
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Production, Distribution & Management Team
A solid production team and a great crew are the key to any feature film’s success. See Appendix D for current key crew resumes and letters of intent for full details on proactive team that will manage, produce, and market Zombie Wedding.
DAVID BECKET, our Producer has worked in the entertainment industry for more than two decades. He began his career on set serving as medic, gaffer, camera operator, and first assistant director on indie films. As co-producer, executive producer, or producer he has helped bring more than seven films to the big screen, including Zombie Death Dance, Unwelcome Undead, and Grave Concerns II. About Zombie Wedding David says “Experience tells me that a profitable project is built right from the bottom up. I’ve worked hard to acquire the right script, the right cast, the right crew and the right plan to give Zombie Wedding the elements it needs to succeed.”
TANDY SINGER (DGA) has been attached to direct Zombie Wedding. Past directing credits in the Zombie genre include Ouija Curse, War of the Dead, and Dead Eyes. She recently directed three episodes of the Amazon Original Series Full Dread and the Nick Original Feature Blood Wellington. Gross revenues for Tandy’s feature films currently exceed $19M and she has more than twenty years experience directing and producing profitable theater, television and film projects.
LARRY STEINMAN, our Line Producer, has already secured a completion bond from Edward Financial Group that guarantees Zombie Wedding will complete production and enter into commercial distribution. He has applied for and received pre-approval from the State of Louisiana film commission for Zombie Wedding participation in the state rebate program for an estimated $1M. Based on these elements, and $1.2M in presales, CBI Bank will lend the production up to $2M to produce Zombie Wedding, subject to proof of full finding. Steinman has served as line producer on eleven films, including Undead Slumber Party & Zombie Brigade.
MARCI WHITE, Zombie Wedding’s producers rep and distribution strategist, has more than 30 years experience working in film and television distribution, including 12 years as a C-Level distribution exec for MEKWHITE, a successful boutique film and television distribution company. She has participated in the profitable release of more than 41 independent feature films. She has already leveraged her overseas relationships to raise $1.2M in Zombie Wedding pre-sales to Mexico, Brazil, Argentina, and Bolivia.
MORGAN WILKES, our cinematographer, lensed Zombie Death Dance, Unwelcome Undead, Grave Concerns II, Dead Eyes, and Lost Isle. He’s known for careful pre-production and storyboarding which translates into short production schedules and getting tough shots on the first take. In 2015 he was featured in Cinematographer Magazine and his work as a fashion photographer appears regularly in Vogue, Fashionista, and Glamour.
WENDY LAROUX has signed on to handle special fx makeup and overall art direction. Her most recent credits include the Amazon Original series Full Dread and the Nick series Crawler. About her role in Zombie Wedding she says “A good film is the product of a talented team who come together to do their best work. As a big fan of Zombie pictures since early childhood, and as a girl who calls New Orleans home, I can’t wait to get started on this project.”
SCOTTY O’DONNELL has joined the Zombie Wedding team as post production supervisor and he is responsible for all managing all editing processes and and generating distribution deliverables. His past INFORMATIONAL ONLY: THIS IS NOT A SOLICITATION FOR INVESTMENT. 6
credits include more than fourteen commercially distributed films, including projects released by Lionsgate, Universal, and Disney.
CAROLINE WHITE has been engaged as the Zombie Wedding marketing and monetization manager with full responsibility for the electronic press kit, website, Facebook, Twitter, Instagram, Google, Youtube marketing, including the production’s cooperative social media marketing with it’s all star cast. Caroline will also oversee the execution of our red carpet events for the sixteen city premieres that form part of our platform release. She recently retired from her position as senior marketing manager at Facebook, and in the last year and a half she has run significant event-based marketing campaigns for Warner Brothers and Lionsgate.
The law firm of WYATT & WANG have been engaged as Zombie Wedding production attorneys. ENTERTAINMENT PARTNERS will be acting as our production payroll accountants.
Overview of the Zombie Wedding Production & Distribution Plan
The Zombie Wedding Budget, found in Appendix E, covers a 3 week prep, 3 week shoot, 2 week wrap, 6 week post production, and 16 city platform theatrical release designed to maximize the film’s value in distribution.
Zombie Wedding will be shot primarily New Orleans at the River Rimbaux Plantation just outside New Orleans in Louisiana. Three days of shooting will be at live locations in the New Orleans Garden District, including two restaurants and a cemetery. Two days of the shoot will be on a green screen soundstage to create key special effects shots.
Video logging and editing will begin the first day of production and we expect to have a rough cut of the film by the first week of post production. We will screen the film for text audiences during the third week of post production, and will finalize the film and create deliverables within the following three weeks.
Our production budget includes $1.3M for publicity, marketing and a sixteen city platform theatrical release which we estimate will start seventeen weeks after full funding.
All production, post production, and marketing will take place in New Orleans to maximize the value of the Louisiana state production incentive which offers a provides up to a 40% tax credit (25% base credit; 10% increase for Louisiana screenplay productions, 5% increase if outside of the New Orleans Metro Statistical Area). We estimate that the production will receive between $800K and $1M in tax credits, which the state will buy back at 88% of full value). CBI bank has already agreed to finance $800K of this estimate when the project is fully financed.
A completion bond covered by the production budget guarantees that the film will complete production and required deliverables will be created. Film production insurance, covered in the budget, guarantees against unforeseen costs like the illness or loss of a key actor after shooting begins. It also provides coverage against destructive weather events which delay, stop, prevent production. (See Appendix F)
10% of the above and below the line production budget, $480K, has been set aside to cover any unforeseen eventualities during production and post production. Any unused portion of this amount will be refunded to investors, proportionate to their investment, once the film finishes its 16 city theatrical release. INFORMATIONAL ONLY: THIS IS NOT A SOLICITATION FOR INVESTMENT. 7
Zombie Wedding Production Timetable
Weeks 0 - Week 14
Zombie Wedding is fully funded and produced. Rights sales go forward supported by scenes from the production and supported by marketing operations during production.
Week 15 - Week 21
Zombie Wedding is finished. Marketing operations, augmented by support from the all star cast, hit their peak, and the film enjoys a high-profile, revenue generating, sixteen city four week platform theatrical release. During this time period, and based upon ticket sales and review, the films remaining rights will be sold to domestic and overseas buyers.
Week 21+
After Domestic Theatrical Release, Zombie Wedding will appear in theaters, and on PPV, CABLE, SVOD, TVOD, AVOD, and ancillary platforms. Although monthly revenue generation usually peaks within 12 months of domestic theatrical release, some films go on to generate meaningful revenue for many years.
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ZOMBIE WEDDING Top Sheet
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Zombie Wedding Marketing Plan
Fundamentally a $4M+ film must have a theatrical release in order to maximize the probability that it will not only break even but provide a good return on investment. Our marketing and publicity plan guarantees Zombie Wedding a high profile city theatrical release designed to maximize the value of the film to rights buyers in the US and worldwide.
A quick overview of film distribution windows and how they impact the profitability of a film begins with an overview of what a distribution window is.
Every feature film represents a bundle of rights that a producer can sell. For example, a producer can sell the Subscription Video On Demand company NETFLIX a 3 year exclusive right to distribute the film on their platform in return for a fixed fee. By doing this a producer is selling the US Domestic SVOD Window for 3 Years. The producer is free to sell the remaining rights to their film to others if they so desire. For example, the producer may sell the right to broadcast the film via cable to Cable One in Europe for six months. This represents a second window. A producer can also sell the film for distribution via DVD to a retail provider like Walmart. This represents a third window.
Distribution windows are almost always sold, in order, from the top down. A film without a solid domestic theatrical release will find international theatrical release, PPV, and other rights much harder to sell.
Media buyers are in the business of selling content to viewers. Whether a film is being added to a Berlin theater marquee, a PPV line up, a cruise line library, a cable line up, or a high value subscription platform, it’s value to viewers directly impacts the revenue of the theater, the PPV provider, the value of the cruise, or the number of subscribers on the platform. When a film has has no marketing and litter to no theatrical release, viewers don’t value it which means that media buyers don’t want it.
Furthermore, media buyers relies on hard statistics. RENTRAK measures worldwide theater ticket sales, and when RENTRAK says a film successfully generated revenue in a multi city US theatrical release, and buyers can find thousands of positive reviews of a film online from news providers and fans, they believe the show is something audiences value, and they are comfortable buying film rights at favorable rates.
Filmmakers maximize the value of their project to buyers when they can prove their film can earn money. By executing a carefully planned, cost effective, sixteen week US theatrical release, the Zombie Wedding production can maximize the number of tickets sold to fans in the the US and will retain most or all of the revenue generated by ticket sales subject to their agreement with booke theaters.
The Zombie Wedding management team is already promoting the film to buyers, and it’s well marketed, carefully planned, theatrical release has proven to the project’s value. We are already in contact with
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media buyers who have indicated they will license the film for their windows based on the performance of the film in our sixteen week theatrical release.
It is worth mentioning that, unless we receive a great domestic all-rights offer for Zombie Wedding, we will be using service deal distribution to put the film on Netflix, Amazon, and Itunes at 70% royalty rates rather than allowing a distributor to take a percentage of these revenues.
A platform theatrical release supports our ability to do this because distribution companies who indicate they may do a theatrical release for a project frequently require production companies to give up those lucrative US windows as part of the deal.
Zombie Wedding Sixteen City Platform Release Timeline & Budget
Marci White, Zombie Wedding’s producers rep and distribution strategist, has walked 41 films through distribution worldwide. She will be overseeing the film’s marketing and theatrical release. You’ll find an overview of the marketing and release plan on the pages that follow. It is important to note that the cost for executing this campaign has already been incorporated into the $5.3M Zombie Wedding Budget.
Week 3 Initial Marketing Begins Cost
Consumer Website & Mailing List Launched (ZombieWedding.com) $10,000
Paid social media advertising begins offering cast fans the opportunity to get Behind the Scenes Footage and Interviews during production. $5,000 Press Releases Distributed Online & to Fan Publications citing name talent in the production. $10,000
Press invited to set to meet cast and crew by appointment. $5,000 Week 5 - 8 Production Marketing Begins
EPK Kit Production & Videographer Captures and Shares (BTS) with social media subscribers and the press. $10,000
Social media advertising continues and ramps up in the 16 cities targeted for the Zombie Wedding platform theatrical release to drive people to the website and mailing list. $5,000
Zombie Wedding Cast, as per contract, tweets and posts to their audience 3-5 times per day when they are on set. They link their fans to the website and mailing list registration page promoting the BTS footage. Their tweets are posts are promoted to the film's target market in the cities targeted for platform release. $50,000 Week 9 - 15 Platform Theatrical Release Marketing Ramps Up
Social media advertising increases to peak, targeting audiences who can attend the film during the 4 week, 16 city platform release. $50,000
Zombie Wedding Cast, as per contract, post and tweet to their fan base daily about the film's release and offer free tickets to avid fans. Their posts and tweet are promoted to the films target market in the cities slated for the platform release. $100,000
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Press outreach ramps up, targeting news organizations and bloggers who can drive audiences to theaters and inviting people to upcoming premieres and offering interview appointments with name talent. $25,000
Guests lists for New York, Los Angeles, and 14 remaining city premieres are created based on fans from cast promotions and mailings lists created via social media marketing. $2,500
16 1000+ seat theaters are rented for a one-week runs. All theaters will report ticket sales to Rentrak to provide verified ticket sales numbers to support rights sales operations. $160,000
New York and Los Angeles premieres and after parties for cast, crew, production team, reporters, and most ardent fans are set up. $10,000
A ticket sales page will launch as the film is created and the digital master is generated. Fans on the mailing list will be invited to purchase their tickets and premiums will be offered for those first to sign up. $2,500 Week 15-21 Platform Theatrical Release Begins
LA Premiere on Friday Night with all name cast and producers in attendance. Food, press coverage, interviews, and live streaming will be broadcast to fans in our database which will be supported by contracted social media promotion from cast. $25,000 San Francisco receives a Saturday Premiere with all name cast and producers in attendance. $25,000 Portland receives a Sunday Afternoon Premiere with all name cast and producers in attendance. $25,000 Denver has a Zombie Movie Night on Monday with limited cast and crew presence. $25,000
NY Premiere on Friday Night with all name cast and producers in attendance. Food, press coverage, interviews, and live streaming will be broadcast to fans in our database which will be supported by contracted social media promotion from cast. $25,000 Miami receives a Saturday Premiere with all name cast and producers in attendance. $25,000 Atlanta receives a Sunday Afternoon Premiere with all name cast and producers in attendance. $25,000 Philadelphia has a Zombie Movie Night on Monday with limited cast and crew presence. $25,000
Chicago Premiere on Friday Night with all name cast and producers in attendance. Food, press coverage, interviews, and live streaming will be broadcast to fans in our database which will be supported by contracted social media promotion from cast. $25,000 New Orleans receives a Saturday Premiere with all name cast and producers in attendance. $25,000 Austin receives a Sunday Afternoon Premiere with all name cast and producers in attendance. $25,000 Dallas has a Zombie Movie Night on Monday with limited cast and crew presence. $25,000
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Orlando Premiere on Friday Night with all name cast and producers in attendance. Food, press coverage, interviews, and live streaming will be broadcast to fans in our database which will be supported by contracted social media promotion from cast. $25,000 Phoenix has a Zombie Movie Night on Monday with all name cast and crew in attendance. $25,000 San Antonio has a Zombie Movie Night on Monday with limited cast and crew presence. $25,000 San Diego has a Zombie Movie Night on Monday with limited cast and crew presence. $25,000
Social Media Marketing & Live Streaming from all premieres is targeted at those in the region who can see the film in its first week. Those who attend screenings are offered rewards for joining the mailing lists and sharing the event with friends. They are reminded to rate the film on IMDB and Rotten Tomatoes. $250,000
Week 22+ Post Platform Theatrical Release Marketing Begins
Press releases and press outreach regarding the attendance and audience support for the project begins. $20,000
International Marketing & Press Outreach Begins to support successful release in London, Paris, Berlin, Oslo, etc to encourage foreign rights sales. $200,000
Total Publicity & Marketing Budget -$1,315,000 Projected Gross Revenues from Platform Theatrical Release (assuming 50% ticket sales for all 7 shows/week, for all 16 theaters and 1000 seats per theater and ticket price set to $15) $1,680,000
Projected Profit from Platform Theatrical Release $365,000
* The Zombie Wedding platform theatrical release budget and timeline forecasts the production will earn a profit from theatrical release once these costs are covered. While the production can guarantee that tickets to see the film in theaters will be sold, we can’t be confident of how much revenue will be generated so we have not incorporated the projected repayment of the $1.3M platform theatrical release costs or the $365K in profits into our overall financial forecast.
Zombie Wedding Film Forecasts & Financial Projections
The Zombie Wedding production team engaged Xenon Film Metrix Inc. to provide us with financial forecasts and projections based on ten or more comparable independent feature films produced and released within the last 5 years.
Xenon was founded in 1985 and currently supports hundreds of leading producers and distribution companies here in the US and worldwide.
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Based on genre, budget, cast, and planned distribution, Xenon selected the nineteen films listed below as being comparable to Zombie Wedding.
Domestic Domestic Theatrical Video Production Net Release Release Film Name Budget Profit or Loss
4/1/2013 5/31/2013 My Zombie Big Wedding $1,900,000 $ 64,735,511 9/1/2013 10/31/2013 Undead Slumber Party $3,200,000 $ 33,646,609 10/12/2014 12/11/2014 Blood Bride $2,100,000 $ 56,286,432 11/14/2014 1/13/2015 Manderly Witch $900,000 $ 33,923,103 12/23/2014 2/21/2015 Zombie Brigade $3,400,000 $ (3,400,000) 2/14/2015 4/15/2015 School for the Undead $700,000 $ 91,924,415 4/15/2015 6/14/2015 My Pretty Zombie $4,500,000 $ (4,500,000) 12/23/2015 2/21/2016 Take Me Zombie $2,900,000 $ 16,701,689 3/14/2016 5/13/2016 Unhappy Undead $4,800,000 $ 40,577,640 5/15/2016 7/14/2016 Restless Dead $8,000,000 $ (8,000,000) 6/15/2016 8/14/2016 Grave Concerns I $700,000 $ 10,343,742 10/14/2016 12/13/2016 Mangled $3,000,000 $ 76,287,133 12/17/2016 2/15/2017 Zombie Death Dance $2,500,000 $ 21,441,646 3/4/2017 5/3/2017 Unwelcome Undead $800,000 $ 33,487,282 7/7/2017 9/5/2017 Dread $3,000,000 $ 15,543,528 9/15/2017 11/14/2017 Blood Bride II $1,600,000 $ (1,600,000) 10/21/2017 12/20/2017 Ouija Curse $3,100,000 $ (3,100,000) 11/30/2017 1/29/2018 Lost Isle $4,000,000 $ (3,886,367) 12/22/2017 2/20/2018 Grave Concerns II $780,000 $ 17,376,560
Average Value $2,730,526 $ 25,673,101 Maximum Value $8,000,000 $ 91,924,415 Minimum Value $700,000 $ (8,000,000)
* It is important to note that sample sizes for film analytics are small and the performance of any given film will vary widely based upon the soundness of the business plan, the care with which it is executed, and market conditions during release. This means that the results of the Zenon Film Metrix financial forecasts and projections cannot be relied upon as a warranty or a guarantee of Zombie Wedding’s eventual financial success and failure.
Based upon the information derived from the analyzed films, Zenon projected Zombie Wedding’s financial performance, and then calculated how that performance might translate into investor return. They bracketed possible performance as Low Performance, Median Performance, and High Performance .
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Zombie Wedding Projected Performance* Low Median High Revenue Multiplier vs. Median Comp: $0 100% 200%
Domestic Box Office Net $771,638 $1,543,277 $3,086,553 International Box Office Net $1,321,385 $5,285,540 $10,571,081 Domestic Video Sales Net $440,462 $1,761,847 $3,523,694 International Video Sales Net $1,814,531 $7,258,126 $14,516,251 Domestic Video Rental Net $1,585,662 $6,342,648 $12,685,297 International Video Rental Net $1,109,963 $4,439,854 $8,879,708 Domestic TV Net $776,974 $3,107,898 $6,215,795 International TV Net $543,882 $2,175,528 $4,351,057 Domestic Ancillary Rights Net $322,202 $1,288,807 $2,577,614 Production Net Revenues All Sources $8,300,881 $33,203,524 $66,407,049
Investment Required Production Budget $5,300,000 $5,300,000 $5,300,000 Less: Est. Tax Rebate on Production Budget -$800,000 -$800,000 -$800,000 Less: Domestic & International Advances/Pre-Sales -$1,200,000 -$1,200,000 -$1,200,000 Initial Investment $3,300,000 $3,300,000 $3,300,000
Investor Return Summary Net Production Profit & Loss $5,000,881 $29,903,524 $63,107,049 Principal Returned to Investors $3,300,000 $3,300,000 $3,300,000 Investor Preferred Return on Initial Investment (20%) $660,000 $660,000 $660,000 Production Net Profit $1,040,881 $25,943,524 $59,147,049 Investor 50% Return After Preferred Return $520,441 $12,971,762 $29,573,524 Total Profit Returned to Investors $1,180,441 $13,631,762 $30,233,524
Projected Return on Investment $0 413% 916%
* These figures are based upon Xenon Film Metrix analysis of similar recently released films. They cannot be relied upon as an estimate of how Zombie Wedding will perform. There are many risks in film production and distribution and many independent films never show a profit.
Analytical Assumptions
The following analytical assumptions were used to estimate producer revenue from distribution where only gross values were available. For example if gross domestic box office figures were available for a film, but costs for advertising, promotion, distributor overhead, and theater costs were not available, we relied on average figures from the table below.
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Note that Zombie Wedding is signatory to the SAG, DGA, IATSE, and Teamster union agreements. Union members earn residuals that are collected by distributors and distributed to the unions for subsequent release to their members. When producers elect to release their content directly to theaters, PPV, SVOD, TVOD, etc through service deal distribution they are directly responsible for paying union residuals.
Analytical Assumptions
Project Rating; PG / PG 13 Project Budget: $5,300,000 Project Genre 1: Horror/Zombie Romantic Project Genre 2: Comedy Location: New Orleans Net Production Budget Tax Rebates/Incentives: $800K Production Company Share of Production Costs: 100.00% Production Company Equity Share: 100.00% Investor Preferred Return: 20.00% Investor Participation Beyond Preferred Return: 50.00% Producers Rep Comp. per Negotiated Rights Sale 6.00% Union Residual Payments 0%-6% Pre-Paid Initial Service Deal Theatrical Distribution 16 Cities Service Deal SVOD / AVOD / PPV generating revenue from (iTunes, Amazon, etc) Yes Completion Bond Yes Initial Advertising/Marketing Budget $1,250,000 Pre-Production International Pre-Sales To Date: $1,200,000 Average Digital Distribution Royalty 70.00% Average Domestic Retail Margin & Overhead 50.00% Average Ancillary Distribution & Overhead 30.00% Average Domestic Theatrical Release Overheads 45.00% Average International Theatrical Release Overheads 55.00%
* Xenon Film Metrix factored union residuals, which vary from 0%-6% as the film moves from window to window, into its projections. These fees are paid by distributors, or the production company, based on the details of each rights sale.
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Cast & Crew Compensation and Distribution of Profits
Cast and crew payment during pre-production, production, and post production will be handled by ABS Payroll Services who provide union and non-union Employer of Record services worldwide for thousands of productions.
Distribution of Revenues to Investors, Producers, Lenders, and where appropriate Unions will be handled via a Collection Account Management account managed and overseen by Fintage House, who has been financial management services to productions for more than 30 years.
A collection account management agreement will be signed by all stakeholders including producers, investors, lenders, unions and our producer’s rep who earns 6% of all deals they negotiate. This will document the “waterfall” show to right outlining how revenues will be used to pay all parties and will provide independent third party verification of revenues received and distributed.
The figure show to right documents the revenue waterfall. Exhibitors and any distributors we engage, as sources for the revenue, will take their cut off the top. The producers rep will be paid a negotiated percentage for all rights sold. CBI will repaid from state rebates and revenue from distribution until they are fully repaid. Unions will begin receiving residuals. Investors will be repaid and then will receive their preferred return. Subsequently investors and producers will split all moneys received.
Fintage house will provide annual tax documentation for revenues received for a period of three years which may be extended based upon the financial performance and marketability of the film. Thereafter their contract will be renewed until revenues fall off so much that selling the remaining rights for the film to an aggregator for a final payment is the most financially responsible step.
See Appendix G, H, and I for Loan, Rebate, and Presales documentation. See Appendix J for information Fintage House collection management accounts.
Zombie Wedding Production Risks
Every film production is subject to risks that may prevent it from achieving it’s financial success. Good production teams acknowledge these risks and ameliorate them to the degree that they are able. A quick review of risks we have assessed and attempted to address are listed below.
Cast or Crew Loss: We have letters of attachment and intent from all cast and crew listed in our business plan. We have worked with this team to develop our production and distribution strategy as documented in this plan.
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● Before or after production, it is possible that one or more of these professionals may drop out of the Zombie Wedding project. In selecting these professionals as members of our team we vetted many alternatives, and we feel confident that we could replace any cast or crew member with a comparable substitute and we can work with them to execute the plan we have developed. ● If the loss occurs during production, we have a completion bond and production insurance which will cover costs due to delays due to illness or failure to perform. The completion bond even covers replacement of the director, 1st AD, or loss of a key cast member. See Appendix F for a detailed overview of the completion bond agreement.
Location Loss: Fires, hurricanes, heat waves, and and other inclement weather conditions can negatively impact any production. Our production has taken the following steps to ameliorate these risks.
● If one or more locations are lost before production begins, we can choose from one of the many alternate locations we considered during development. ● If locations are lost during production, we have a completion bond and production insurance in place to cover costs associated with moving the project to a new location any reshoots required by this change. The policies will cover any premium charges incurred by the productions, and will ensure the production and distribution of the finished film.
Changing Market Conditions: Every film is subject to the financial climate that exists when it is released. Economic contractions, incidents that impact theater attendance, issues related to the financial stability of rights buyers, and international conflict are just a partial list of issues that may impact a film.
● By ensuring tightly targeted marketing of our project, and designing a sixteen city theatrical release, we eliminate the risk that the film will fail to find any theatrical release and we maximize the probability that the film will be able to exploit all available distribution windows. ● Because we are executing the initial theatrical release ourselves, we can delay the release until market conditions improve.
Piracy: Gross distribution and licensing fees for of all independent films are severely impacted by piracy. Our distribution plan is based upon theatrical release in the US and Overseas followed by exploitation across all other distribution windows. If the film is widely pirated, the revenue generated in release will be negatively impacted.
● Our film’s relatively fast production and quick distribution plan minimize the opportunity for the finished film to be stolen and widely distributed. ● Once the film is finished, and in distribution, our tightly targeted marketing will drive people to theaters, PPM, SVOD, TVOD, and other distribution channels during the period required to maximize revenue generation. If purchasing something or watching it legally is easy, audiences pirate it far less frequently. The time, effort, and risks associated with pirating a film, and the lower quality viewing experience, simply seem less worth the effort.
Lawsuits: Productions can run into legal problems for a wide range of reasons including illegal behavior by cast and crew, problems with payroll. Our production attorneys Wyatt & Wang have been onboard since inception to create the corporate structure, negotiate all loans, navigate securities laws, and negotiate cast and crew agreements. Our errors and omissions insurance, production insurance, and completion bond all provide additional coverage to help indemnify the production for losses due to lawsuits. INFORMATIONAL ONLY: THIS IS NOT A SOLICITATION FOR INVESTMENT. 18
Summary
Please review the attached appendices for detailed information on cast, crew, calculations, and partners in production.
If you have any questions about Zombie Wedding or the information covered in this business plan, please call David Becket on (000) 000-000.
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APPENDIX A
ZOMBIE WEDDING SCREENPLAY
(85-120 Pages, Correctly Formatted, No Spelling Mistakes, Final Version)
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APPENDIX B
SCREENPLAY COVERAGE
This appendix may include one-page letters or nicely formatted short messages received via email producers, screenwriter, distribution executives, and others who read the screenplay because you asked them to or hired them to read it and give you notes. Should also include nice professional coverage that gives the screenplay a Recommend which may come from WeScreenplay.com or a competitor. You are going to purchase several rounds of coverage, 3-5 readers per round, and you are going to modify the screenplay until everyone who reads it agrees that it’s amazing. You are going to include two or more coverage reports from the final round with the business plan.
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APPENDIX C
CAST BIOS & LETTERS OF INTENT & ATTACHMENT
In order to produce a film, you need to have 10%-20% of the budget in hand so you can get the budget, shooting schedule, day out of days, film analytics, and platform release/distribution plan done, and so you have enough money to actually attach cast to your project.
The Zombie Wedding Budget indicates that Rane Tyson and Michael Vorski are being paid $50K each for approximately three weeks on set. That’s a bit low given their credits, but they will earn as much or more more from the marketing budget in return for public appearances and pushing social media messages that grow their fan base significantly. The remaining four actors are slated to earn $10K-$15K each.
Given that an investor has given the producer $200K, it would probably make sense to fully attach Rane Tyson and Michael Vorski and the Vanowen Brothers for a total of $120K, and to escrow the funds required to pay them in what amount to a pay or play deal. They represent the core talent for the film. The remaining two actors could be attached to the film for an additional $30K, or a deal could be struck based on partial payment for a non-refundable advance payment for their services.
You would work with an experienced entertainment attorney to make these offers and you couldn’t make them without being SAG Signatory, and than means you will have to have set up your LLC.
If you have taken $200K in investment, as appears to be the case, you would have had to set up the PPM you’ll use to sell your project to investors or you’ll have had to work with your attorney to figure out how you can accept that money while obeying securities laws. Remember you can’t just show your business plan to investors and ask for money. It’s illegal. You need a Regulation D private placement memorandum, or you need to raise money under Reg-CF or Regulation 504 exemption. Or there are other alternatives that might work private loan for a fixed interest rate, etc. But, you need to work with an attorney to avoid serious and very expensive problems.
In this section you would include letters from the performer’s agents indicating that the actors are attached to the project. You would not disclose actor salaries or all the services they will be providing to anyone outside your production team.
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APPENDIX D
PRODUCTION & DISTRIBUTION TEAM BIOS & LETTERS OF ATTACHMENT
Here you would provide one page resumes for each the folks you highlighted in the business plan along with a letter of intent indicating that they are working with you to produce and distribute your film. For key figures, like Marci White who is absolutely critical to the film’s success, you may have paid a non-refundable upfront payment in return for her agreement to create the platform release and distribution plan incorporated into your budget. This documentation makes it clear you have a team that is ready, willing, and able to execute the plan you’ve laid out.
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APPENDIX E
FULL BUDGET
This is where you would include the full production budget, created by a line producer with input from members of your management team. It should be soup-to-nuts all costs budget, covering everything from the first day of pre-production through the successful launch of the film into wide release. It should incorporate a marketing budget which is enough to cover a multi-city theatrical release.
Now, there’s some disagreement about whether investors will cover a theatrical release for a film, but this film will cost $4M to produce. Failure to get a very good theatrical release, and to actually get paid for subsequent rights sales, will almost certainly result in a full or partial loss of all invested funds.
While it is possible to produce a film at $4M and hand it over to a distributor, is less possible to ensure they will execute a good theatrical release and the marketing to put bodies in most seats which is important to further rights sales. After all, a distributor has other films to release and many are producers in their own right.
So it’s smarter from every perspective to guarantee a good theatrical release the production can fully time and execute for maximum benefit. Funding the release along with the production is the smart thing to do, and it can significantly improve deals with cast and crew because everyone is confident the film has what it needs to do well.
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BUDGET
PROJECT TITLE ZOMBIE WEDDING # of Prep Weeks 3
PRODUCER David Becket # of Shoot Weeks 3
BUDGET TOTAL: $5,293,113.25 # of Wrap weeks: 2
BUDGET DATE: 2016-07-25 # of Post Weeks 6
5-DAY WKS / 12-HR DAYS Unions: SAG / IATSE
TOPSHEET
ACCT# DESCRIPTION TOTALS
100 WRITER / SCREENPLAY / STORY $113,625.00
200 PRODUCERS $50,000.00
300 DIRECTOR $50,000.00
400 PRINCIPAL CAST $225,000.00
500 SUPPORTING CAST $141,885.93
600 STUNTS $40,089.71
700 ABOVE-THE-LINE TRAVEL & LIVING $15,187.50
800 ABOVE-THE-LINE FRINGES $70,729.94
TOTAL ABOVE-THE-LINE $706,518.07
900 PRODUCTION STAFF $154,876.10
1000 BACKGROUND TALENT $15,131.25
1100 CAMERA $239,264.36
1200 GRIP & SET OPERATIONS $113,530.95
1300 ELECTRIC & SET LIGHTING $167,392.95
1400 PRODUCTION SOUND $50,875.90
1500 TRANSPORTATION $313,305.00
1600 SPECIAL MECHANICAL FX $98,303.10
1700 ART $155,213.48
1800 SET CONSTRUCTION $161,788.88
1900 SET DRESSING $70,948.98
2000 PROPERTY $65,605.13
2100 WARDROBE $41,325.99
2200 MAKEUP & HAIR $59,622.80
2300 MAKEUP EFFECTS $51,774.12
2400 LOCATION EXPENSES $143,352.52
2500 ANIMALS $0.00
2600 SECOND UNIT $7,558.90
2700 PRODUCTION FRINGES $193,271.89
TOTAL PRODUCTION $2,103,142.29
5000 EDITING & POST $79,823.72
5100 MUSIC $10,000.00
5200 POST-PRODUCTION SOUND $17,062.50
5300 VISUAL FX $22,100.00
5400 DELIVERABLES $33,750.00
5500 POST-PRODUCTION FRINGES $46,837.05
TOTAL POST PRODUCTION $209,573.27
6000 PUBLICITY $1,303,437.50
6100 INSURANCE $466,750.00
6200 OTHER EXPENSES $22,500.00
TOTAL OTHER EXPENSES $1,792,687.50
TOTAL ABOVE-THE-LINE $706,518.07
TOTAL BELOW-THE-LINE $4,105,403.06
ABOVE & BELOW-THE-LINE $4,811,921.14
TOTAL FRINGES $310,838.87
CONTINGENCY $481,192.11
GRAND TOTAL $5,293,113.25 LINE BUDGET - DETAILED
ACCT# DESCRIPTION UNITS X RATE SUB-TOTAL TOTAL
100 WRITER / SCREENPLAY / STORY
101 WRITER(S) FEES
Jen White FEE 1 $108,000.00 $108,000.00
$108,000.00
104 TITLE SEARCH ALLOW $1,125.00 $1,125.00
106 CLEARANCE ALLOW $562.50 $562.50
108 COPYRIGHT ALLOW $562.50 $562.50
110 PAPER SCRIPT COPIES ALLOW $843.75 $843.75
112 DEVELOPMENT EXPENSES ALLOW $2,531.25 $2,531.25 $5,625.00
ACCT# UNITS X RATE SUB-TOTAL $113,625.00
200 PRODUCERS
201 PRODUCER(S) FEES
David Becket FEE 1 $150,000.00 $50,000.00
$50,000.00
ACCT# UNITS X RATE SUB-TOTAL $50,000.00
300 DIRECTOR
301 DIRECTOR FEE
Director FEE 1 $100,000.00 $50,000.00 $50,000.00
ACCT# QUANTITY UNITS X RATE SUB-TOTAL $50,000.00
400 PRINCIPAL CAST
401 PRINCIPAL CAST FEES
Julie ALLOW $50,000.00 $50,000.00
Romany ALLOW $50,000.00 $50,000.00
Ty ALLOW $15,000.00 $15,000.00
Ros ALLOW $15,000.00 $15,000.00
Cory ALLOW $10,000.00 $10,000.00
Teddy ALLOW $10,000.00 $10,000.00
$150,000.00
PRINCIPAL CAST EXPENSES ALLOW 1 $75,000.00 $75,000.00 $75,000.00
ACCT# QUANTITY UNITS X RATE SUB-TOTAL $225,000.00
500 SUPPORTING CAST
501 SUPPORTING CAST FEES
Lyle 2.00 WEEKS 1 $3,145.00 $6,290.00
Laroux 2.00 WEEKS 1 $3,145.00 $6,290.00
Evangeline 1.00 WEEKS 1 $3,145.00 $3,145.00
Chatlaine 2.00 WEEKS 1 $3,145.00 $6,290.00
Mireaux 1.00 WEEKS 1 $3,145.00 $3,145.00
Police Chief 1.00 WEEKS 1 $3,145.00 $3,145.00
Cop 1 1.00 WEEKS 1 $3,145.00 $3,145.00
Cop 2 1.00 WEEKS 1 $3,145.00 $3,145.00 $34,595.00
502 TALENT EXPENSES ALLOW $34,060.61 $34,060.61
504 CASTING ALLOW $17,030.31 $34,060.61
506 REHEARSALS ALLOW $3,406.06 $3,406.06
508 PENALTIES / OVERAGES / OVERTIME ALLOW $8,515.15 $17,030.31
510 ADR ALLOW $8,515.15 $17,030.31
599 MISC. EXPENSES ALLOW $8,515.15 $1,703.03 $107,290.93
ACCT# QUANTITY UNITS X RATE SUB-TOTAL $141,885.93
600 STUNTS
601 STUNT COORDINATOR
Prep 2.00 WEEKS 1 $3,145.00 $6,290.00
Shoot 1.00 WEEKS 1 $3,145.00 $3,145.00
Wrap 0.50 WEEKS 1 $3,145.00 $1,572.50 $11,007.50
602 STUNT PLAYERS
Prep 1.00 WEEKS 2 $4,000.00 $4,000.00
Shoot 1.00 WEEKS 2 $4,000.00 $4,000.00
Wrap 0.50 WEEKS 2 $4,000.00 $2,000.00 $10,000.00
604 STUNT PURCHASES / RENTALS ALLOW $11,007.50 $11,007.50
606 STUNT EXPENSES ALLOW $5,503.75 $5,503.75
610 BOX RENTALS ALLOW $964.11 $964.11
699 MISC. EXPENSES ALLOW $1,606.85 $1,606.85 $19,082.21
ACCT# QUANTITY UNITS X RATE SUB-TOTAL $40,089.71
700 ABOVE-THE-LINE ADD'L TRAVEL & LIVING
701 PRODUCERS ALLOW $1,687.50 $1,687.50
702 DIRECTOR ALLOW $1,687.50 $1,687.50
703 CAST ALLOW $10,125.00 $10,125.00
706 ABOVE-THE-LINE CARS/TRAVEL ALLOW $0.00 $0.00
799 MISC. EXPENSES ALLOW $1,687.50 $1,687.50 $15,187.50
ACCT# FRINGEABLE LABOR FRINGE RATE SUBTOTAL $15,187.50
800 ABOVE-THE-LINE FRINGES
801 WGA 108,000.00 0.1450 $15,660.00
802 DGA 50,000.00 0.1400 $7,000.00
803 SAG 259,595.00 0.1530 $39,718.04
804 Payroll 8,351.90 ALLOW 0.0050 $8,351.90 $70,729.94
$70,729.94
TOTAL ABOVE-THE-LINE $706,518.07
ACCT# QUANTITY UNITS X RATE SUB-TOTAL TOTAL
900 PRODUCTION STAFF 901 UNIT PRODUCTION MANAGER
Prep 3.00 WEEKS 1 $3,814.60 $11,443.80
Shoot 3.00 WEEKS 1 $3,814.60 $11,443.80
Wrap 0.50 WEEKS 1 $3,814.60 $1,907.30 $24,794.90
902 FIRST ASSISTANT DIRECTOR
Prep 3.00 WEEKS 1 $3,247.30 $9,741.90
Shoot 3.00 WEEKS 1 $3,247.30 $9,741.90
Wrap 0.50 WEEKS 1 $3,247.30 $1,623.65 $21,107.45
903 SECOND ASSISTANT DIRECTOR
Prep 1.50 WEEKS 1 $2,176.30 $3,264.45
Shoot 3.00 WEEKS 1 $2,176.30 $6,528.90
Wrap 0.50 WEEKS 1 $2,176.30 $1,088.15 $10,881.50
904 2ND 2ND AD
Prep 0.00 WEEKS 1 $2,054.50 $0.00
Shoot 1.00 WEEKS 1 $2,054.50 $2,054.50
Wrap 0.00 WEEKS 1 $2,054.50 $0.00 $2,054.50
905 ADDITIONAL 2ND AD
Prep 0.00 WEEKS 1 $1,227.80 $0.00
Shoot 1.00 WEEKS 1 $1,227.80 $1,227.80
Wrap 0.00 WEEKS 1 $1,227.80 $0.00 $1,227.80
906 ASSISTANT TO THE DIRECTOR
Prep 3.00 WEEKS 1 $595.00 $1,785.00
Shoot 3.00 WEEKS 1 $595.00 $1,785.00
Wrap 0.40 WEEKS 1 $595.00 $238.00 $3,808.00
907 DGA TRAINEE
Prep 0.00 WEEKS 1 $634.20 $0.00
Shoot 0.00 WEEKS 1 $634.20 $0.00
Wrap 0.00 WEEKS 1 $634.20 $0.00 $0.00
Prep 0.30 WEEKS 1 $1,714.36 $514.31
Shoot 3.00 WEEKS 1 $1,714.36 $5,143.07
Wrap 0.10 WEEKS 1 $1,714.36 $171.44 $5,828.81
912 PROD COORDINATOR
Prep 3.00 WEEKS 1 $1,714.36 $5,143.07
Shoot 3.00 WEEKS 1 $1,714.36 $5,143.07
Wrap 0.50 WEEKS 1 $1,714.36 $857.18 $11,143.31
914 ASST PROD COORDINATOR
Prep 3.00 WEEKS 1 $1,714.36 $5,143.07
Shoot 3.00 WEEKS 1 $1,714.36 $5,143.07
Wrap 0.50 WEEKS 1 $1,714.36 $857.18 $11,143.31
920 PROD. ASSISTANTS
921 P.A. 1
Prep 3.00 WEEKS 1 $595.24 $1,785.71
Shoot 3.00 WEEKS 1 $595.24 $1,785.71
Wrap 0.50 WEEKS 1 $595.24 $297.62 $3,869.05
922 P.A. 2
Prep 0.00 WEEKS 1 $595.24 $0.00
Shoot 3.00 WEEKS 1 $595.24 $1,785.71
Wrap 0.00 WEEKS 1 $595.24 $0.00 $1,785.71
923 P.A. 3
Prep 0.00 WEEKS 1 $595.24 $0.00
Shoot 1.00 WEEKS 1 $595.24 $595.24
Wrap 0.00 WEEKS 1 $595.24 $0.00 $595.24
924 P.A. 4
Prep 0.00 WEEKS 1 $595.24 $0.00 Shoot 1.00 WEEKS 1 $595.24 $595.24
Wrap 0.00 WEEKS 1 $595.24 $0.00 $595.24
925 P.A. 5
Prep 0.00 WEEKS 1 $595.24 $0.00
Shoot 1.00 WEEKS 1 $595.24 $595.24
Wrap 0.00 WEEKS 1 $595.24 $0.00 $595.24
940 PROD. ACCOUNTANT
Prep 3.00 WEEKS 1 $1,577.10 $4,731.30
Shoot 3.00 WEEKS 1 $1,577.10 $4,731.30
Wrap 0.50 WEEKS 1 $1,577.10 $788.55 $10,251.15
942 ASST ACCOUNTANT
Prep 3.00 WEEKS 1 $1,577.10 $4,731.30
Shoot 3.00 WEEKS 1 $1,577.10 $4,731.30
Wrap 0.50 WEEKS 1 $1,577.10 $788.55 $10,251.15
948 TEACHER - WELFARE
Prep 0.00 WEEKS 1 $2,000.00 $0.00
Shoot 1.00 WEEKS 1 $2,000.00 $2,000.00
Wrap 0.30 WEEKS 1 $2,000.00 $600.00 $2,600.00
950 OFFICE RENTAL ALLOW $7,275.08 $7,275.08 $7,275.08
952 CAR ALLOWANCE ALLOW $6,111.06 $6,111.06 $6,111.06
954 UTILITIES / PHONES / WIFI ALLOW $8,730.09 $8,730.09 $8,730.09
956 SUPPLIES / SOFTWARE ALLOW $1,000.00 $1,000.00 $1,000.00
958 RENTALS ALLOW $1,000.00 $1,000.00 $1,000.00
960 COURIER/POSTAGE ALLOW $727.51 $727.51 $727.51
962 PETTY CASH ALLOW $2,500.00 $2,500.00 $2,500.00
999 MISC. EXPENSES ALLOW $5,000.00 $5,000.00 $5,000.00
ACCT# UNITS X RATE SUB-TOTAL $154,876.10
1000 BACKGROUND TALENT
1001 STAND-INS ALLOW $1,125.00 $1,125.00 $1,125.00
1002 SAG EXTRAS ALLOW $9,956.25 $9,956.25 $9,956.25
1003 NONUNION EXTRAS ALLOW $562.50 $562.50 $562.50
1010 FITTING COSTS ALLOW $112.50 $112.50 $112.50
1020 EXTRAS CASTING ALLOW $1,125.00 $1,125.00 $1,125.00
1099 MISC. EXPENSES ALLOW $2,250.00 $2,250.00 $2,250.00
ACCT# QUANTITY UNITS X RATE SUB-TOTAL $15,131.25
1100 CAMERA
1101 DIRECTOR OF PHOTOGRAPHY
Prep 3.00 WEEKS 1 $2,741.84 $8,225.51
Shoot 3.00 WEEKS 1 $2,741.84 $8,225.51
Wrap 2.00 WEEKS 1 $2,741.84 $5,483.67 $21,934.70
1102 1st ASST CAMERA
Prep 3.00 WEEKS 2 $1,679.76 $10,078.53
Shoot 3.00 WEEKS 2 $1,679.76 $10,078.53
Wrap 0.50 WEEKS 2 $1,679.76 $1,679.76 $21,836.82
1103 2nd ASST CAMERA
Prep 1.50 WEEKS 2 $1,569.33 $4,707.99
Shoot 3.00 WEEKS 2 $1,569.33 $9,415.98
Wrap 0.50 WEEKS 2 $1,569.33 $1,569.33 $15,693.30
1104 CAMERA OPERATOR
Prep 1.50 WEEKS 2 $1,828.42 $5,485.26
Shoot 3.00 WEEKS 2 $1,828.42 $10,970.53
Wrap 0.00 WEEKS 2 $1,828.42 $0.00 $16,455.79 1106 STEADICAM OPERATOR
Prep 0.00 WEEKS 1 $1,828.42 $0.00
Shoot 3.00 WEEKS 1 $1,828.42 $5,485.26
Wrap 0.00 WEEKS 1 $1,828.42 $0.00 $5,485.26
1108 D.I.T. / LOADER
Prep 1.50 WEEKS 1 $1,327.37 $1,991.05
Shoot 3.00 WEEKS 1 $1,327.37 $3,982.10
Wrap 0.50 WEEKS 1 $1,327.37 $663.68 $6,636.84
1110 STILL PHOTOGRAPHER
Prep 3.00 WEEKS 1 $1,327.37 $3,982.10
Shoot 3.00 WEEKS 1 $1,327.37 $3,982.10
Wrap 0.50 WEEKS 1 $1,327.37 $663.68 $8,627.89
1112 VIDEO ASSIST/PLAYBACK
Prep 1.50 WEEKS 1 $1,327.37 $1,991.05
Shoot 3.00 WEEKS 1 $1,327.37 $3,982.10
Wrap 0.50 WEEKS 1 $1,327.37 $663.68 $6,636.84
1120 CAMERA PACKAGE / RENTALS ALLOW 2 $44,186.00 $88,372.00
1122 PURCHASES / EXPENDABLES ALLOW 2 $4,758.49 $9,516.98
1124 MEDIA / CART / DRIVES / DAILIES ALLOW 2 $8,837.20 $17,674.40
1126 CAMERA TESTS ALLOW 2 $1,699.46 $3,398.92
1128 BOX RENTALS ALLOW 2 $2,039.35 $4,078.71
1130 LOSS & DAMAGE ALLOW 2 $1,699.46 $3,398.92
1199 MISC. EXPENSES ALLOW 2 $4,758.49 $9,516.98 $135,956.92
ACCT# QUANTITY UNITS X RATE SUB-TOTAL $239,264.36
1200 GRIP & SET OPERATIONS
1201 KEY GRIP
Prep 3.00 WEEKS 1 $2,058.32 $6,174.95
Shoot 3.00 WEEKS 1 $2,058.32 $6,174.95
Wrap 2.00 WEEKS 1 $2,058.32 $4,116.63 $16,466.52
1202 BEST BOY GRIP
Prep 3.00 WEEKS 1 $1,859.09 $5,577.26
Shoot 3.00 WEEKS 1 $1,859.09 $5,577.26
Wrap 2.00 WEEKS 1 $1,859.09 $3,718.18 $14,872.70
1203 DOLLY GRIP
Prep 0.00 WEEKS 1 $1,468.67 $0.00
Shoot 3.00 WEEKS 1 $1,468.67 $4,406.01
Wrap 2.00 WEEKS 1 $1,468.67 $2,937.34 $7,343.35
1204 GRIP
Prep 0.50 WEEKS 1 $1,392.23 $696.12
Shoot 3.00 WEEKS 1 $1,392.23 $4,176.69
Wrap 1.00 WEEKS 1 $1,392.23 $1,392.23 $6,265.04
1210 GREENSPERSON
Prep 1.00 1 $1,392.23 $1,392.23
Shoot 3.00 1 $1,392.23 $4,176.69
Wrap 0.50 1 $1,392.23 $696.12 $6,265.04
1212 PAINTER
Prep 1.00 2 $1,392.23 $2,784.46
Shoot 3.00 2 $1,392.23 $8,353.38
Wrap 1.00 2 $1,392.23 $2,784.46 $13,922.30
1214 MEDIC
Shoot 3.00 1 $1,392.23 $4,176.69 $4,176.69 1220 RENTALS ALLOW $18,951.13 $18,951.13
1222 PURCHASES ALLOW $10,612.63 $10,612.63
1224 RIGGING EQUIPMENT ALLOW $5,053.64 $5,053.64
1226 BOX RENTAL ALLOW $3,537.54 $3,537.54
1228 LOSS & DAMAGE ALLOW $3,032.18 $3,032.18
1299 MISC. EXPENSES ALLOW $3,032.18 $3,032.18 $44,219.31
ACCT# QUANTITY UNITS X RATE SUB-TOTAL $113,530.95
1300 ELECTRIC & SET LIGHTING
1301 GAFFER
Prep 3.00 WEEKS 1 $2,058.32 $6,174.95
Shoot 3.00 WEEKS 1 $2,058.32 $6,174.95
Wrap 2.00 WEEKS 1 $2,058.32 $4,116.63 $16,466.52
1302 BEST BOY
Prep 3.00 WEEKS 1 $1,859.09 $5,577.26
Shoot 3.00 WEEKS 1 $1,859.09 $5,577.26
Wrap 2.00 WEEKS 1 $1,859.09 $3,718.18 $14,872.70
1303 LIGHTING TECHNICIAN
Prep 3.00 WEEKS 2 $1,786.68 $10,720.08
Shoot 3.00 WEEKS 2 $1,786.68 $10,720.08
Wrap 2.00 WEEKS 2 $1,786.68 $7,146.72 $28,586.88
1306 SPECIAL OPERATOR
Prep 3.00 WEEKS 2 $1,786.68 $10,720.08
Shoot 3.00 WEEKS 2 $1,786.68 $10,720.08
Wrap 0.00 WEEKS 2 $1,786.68 $0.00 $21,440.16
1308 CHIEF RIGGER
Prep 0.75 WEEKS 2 $1,786.68 $2,680.02
Shoot 3.00 WEEKS 2 $1,786.68 $10,720.08
Wrap 2.00 WEEKS 2 $1,786.68 $7,146.72 $20,546.82
1310 GENERATOR OPERATOR
Prep 3.00 WEEKS 1 $1,913.56 $5,740.69
Shoot 3.00 WEEKS 1 $1,913.56 $5,740.69
Wrap 2.00 WEEKS 1 $1,913.56 $3,827.12 $15,308.50
1320 GENERATORS & FUEL ALLOW $19,079.48 $19,079.48
1322 RENTALS ALLOW $9,150.50 $9,150.50
1324 PURCHASES ALLOW $14,309.61 $14,309.61
1326 BURNOUTS/GLOBES/CARBONS ALLOW $953.97 $953.97
1328 BOX RENTALS ALLOW $2,861.92 $2,861.92
1330 MISC. EXPENSES ALLOW $1,907.95 $1,907.95
1399 LOSS & DAMAGE ALLOW $1,907.95 $1,907.95 $50,171.37
ACCT# QUANTITY UNITS X RATE SUB-TOTAL $167,392.95
1400 PRODUCTION SOUND
1401 SOUND MIXER
Prep 1.00 WEEKS 1 $2,459.86 $2,459.86
Shoot 3.00 WEEKS 2 $2,459.86 $14,759.18
Wrap 2.00 WEEKS 2 $2,459.86 $9,839.45 $27,058.49
1402 BOOM OPERATOR
Shoot 0.50 WEEKS 2 $1,690.91 $1,690.91
Wrap 0.50 WEEKS 2 $1,690.91 $1,690.91 $3,381.83
1406 CABLE WRANGLER
Shoot 3.00 WEEKS 1 $1,643.19 $4,929.58
Wrap 1.00 WEEKS 1 $1,643.19 $1,643.19 $6,572.78 1410 PURCHASES / EXPENDABLES ALLOW $1,386.28 $1,386.28
1420 RENTALS ALLOW $10,397.11 $10,397.11
1430 LOSS & DAMAGE ALLOW $693.14 $693.14
1499 MISC. EXPENSES ALLOW $1,386.28 $1,386.28 $13,862.81
ACCT# QUANTITY UNITS X RATE SUB-TOTAL $50,875.90
1500 TRANSPORTATION
1501 TRANSPORTATION COORDINATOR
Prep 18.00 DAYS 12 $40.00 $8,640.00
Shoot 18.00 DAYS 18 $40.00 $12,960.00
Wrap 12.00 DAYS 12 $40.00 $5,760.00 $27,360.00
1502 CAPTAIN
Prep 18.00 DAYS 12 $35.00 $7,560.00
Shoot 18.00 DAYS 18 $35.00 $11,340.00
Wrap 12.00 DAYS 12 $35.00 $5,040.00 $23,940.00
1503 10T DRIVER
Prep 18.00 DAYS 12 $35.00 $7,560.00
Shoot 18.00 DAYS 18 $35.00 $11,340.00
Wrap 12.00 DAYS 12 $35.00 $5,040.00 $23,940.00
ELECTRIC TRUCK
Prep 18.00 DAYS 12 $35.00 $7,560.00
Shoot 18.00 DAYS 18 $35.00 $11,340.00
Wrap 12.00 DAYS 12 $35.00 $5,040.00 $23,940.00
GRIP TRUCK
Prep 18.00 DAYS 12 $35.00 $7,560.00
Shoot 18.00 DAYS 18 $35.00 $11,340.00
Wrap 12.00 DAYS 12 $35.00 $5,040.00 $23,940.00
MAKEUP TRAILER
Prep 3.00 DAYS 12 $35.00 $1,260.00
Shoot 18.00 DAYS 18 $35.00 $11,340.00
Wrap 6.00 DAYS 12 $35.00 $2,520.00 $15,120.00
1510 PRODUCTION VAN DRIVER
Prep 3.00 DAYS 12 $35.00 $1,260.00
Shoot 18.00 DAYS 18 $35.00 $11,340.00
Wrap 6.00 DAYS 12 $35.00 $2,520.00 $15,120.00
PRODUCTION VAN DRIVER
Prep 3.00 DAYS 12 $35.00 $1,260.00
Shoot 18.00 DAYS 18 $35.00 $11,340.00
Wrap 6.00 DAYS 12 $35.00 $2,520.00 $15,120.00
1512 CRANE / CAMERA DRIVER
Prep 3.00 DAYS 12 $35.00 $2,400.00
Shoot 18.00 DAYS 18 $35.00 $11,340.00
Wrap 6.00 DAYS 12 $35.00 $2,400.00 $16,140.00
1514 CREW CAB DRIVER
Prep 3.00 DAYS 0 $35.00 $0.00
Shoot 3.00 DAYS 5 $35.00 $525.00
Wrap 2.00 DAYS 0 $35.00 $0.00 $525.00
1516 SEMI / HONEYWAGON DRIVER
Prep 3.00 DAYS 12 $35.00 $1,260.00
Shoot 18.00 DAYS 18 $35.00 $11,340.00
Wrap 6.00 DAYS 12 $35.00 $2,520.00 $15,120.00
1518 5T DRIVER
Prep 3.00 DAYS 12 $35.00 $1,260.00
Shoot 18.00 DAYS 18 $35.00 $11,340.00
Wrap 6.00 DAYS 12 $35.00 $2,520.00 $15,120.00 1530 PROD. VEHICLE RENTAL BUDGET
Trailers / Trucks / Honeywagons Etc. ALLOW $23,332.50 $23,332.50
1534 PICTURE VEHICLES ALLOW $19,125.00 $19,125.00
1536 PUMPING SUPPLIES ALLOW $13,387.50 $13,387.50
1540 FUEL & OIL ALLOW $28,687.50 $28,687.50
1542 REPAIRS & MAINTENANCE ALLOW $5,737.50 $5,737.50
1544 LOSS & DAMAGE ALLOW $4,781.25 $4,781.25
1599 MISC. EXPENSES ALLOW $2,868.75 $2,868.75 $97,920.00
ACCT# QUANTITY UNITS X RATE SUB-TOTAL $313,305.00
1600 SPECIAL MECHANICAL FX
1601 SPECIAL FX COORDINATOR
Prep 3.00 WEEKS 1 $1,934.84 $5,804.53
Shoot 3.00 WEEKS 1 $1,934.84 $5,804.53
Wrap 2.00 WEEKS 1 $1,934.84 $3,869.68 $15,478.74
1602 SPECIAL FX FOREMAN
Prep 3.00 WEEKS 1 $1,934.84 $5,804.53
Shoot 3.00 WEEKS 1 $1,934.84 $5,804.53
Wrap 2.00 WEEKS 1 $1,934.84 $3,869.68 $15,478.74
1604 STANDBY FX
Prep 0.75 WEEKS 1 $1,934.84 $1,451.13
Shoot 3.00 WEEKS 1 $1,934.84 $5,804.53
Wrap 2.00 WEEKS 1 $1,934.84 $3,869.68 $11,125.34
1610 SPFX EXPENSES ALLOW $28,633.86 $28,633.86
1612 MANUFACTURING ALLOW $4,137.96 $4,137.96
1614 RIGGING & STRIKING ALLOW $4,137.96 $4,137.96
1616 PURCHASES ALLOW $5,517.28 $5,517.28
1620 RENTALS ALLOW $13,793.21 $13,793.21 $56,220.28
ACCT# QUANTITY UNITS X RATE SUB-TOTAL $98,303.10
1700 ART
1701 PRODUCTION DESIGNER
Prep 3.00 WEEKS 1 $2,357.95 $7,073.85
Shoot 3.00 WEEKS 1 $2,357.95 $7,073.85
Wrap 0.00 WEEKS 1 $2,357.95 $0.00 $14,147.70
1702 ART DIRECTOR
Prep 3.00 WEEKS 1 $2,151.95 $6,455.84
Shoot 3.00 WEEKS 1 $2,151.95 $6,455.84
Wrap 0.00 WEEKS 1 $2,151.95 $0.00 $12,911.68
1703 ASST ART DIRECTOR
Prep 3.00 WEEKS 1 $1,780.10 $5,340.30
Shoot 3.00 WEEKS 1 $1,780.10 $5,340.30
Wrap 0.00 WEEKS 1 $1,780.10 $0.00 $10,680.60
1706 SET DESIGNER
Prep 3.00 WEEKS 1 $1,198.65 $3,595.94
Shoot 3.00 WEEKS 1 $1,198.65 $3,595.94
Wrap 0.00 WEEKS 1 $1,198.65 $0.00 $7,191.87
1708 ART. DEPT. COORDINATOR
Prep 3.00 WEEKS 1 $1,786.34 $5,359.01
Shoot 3.00 WEEKS 1 $1,786.34 $5,359.01
Wrap 0.00 WEEKS 1 $1,786.34 $0.00 $10,718.02
1710 ART DEPT. ASSISTANT
Prep 0.00 WEEKS 1 $595.15 $0.00 Shoot 3.00 WEEKS 1 $595.15 $1,785.46
Wrap 0.00 WEEKS 1 $595.15 $0.00 $1,785.46
1714 STORYBOARDS ALLOW $3,000.00 $3,000.00
1716 PURCHASES / MATERIALS ALLOW $54,882.85 $54,882.85
1718 RENTALS ALLOW $10,453.88 $10,453.88
1720 RESEARCH ALLOW $1,000.00 $1,000.00
1722 BLUEPRINTS ALLOW $6,533.67 $6,533.67
1724 CAR ALLOWANCE ALLOW $1,000.00 $1,000.00
1726 BOX RENTALS ALLOW $13,067.34 $13,067.34
1728 LOSS & DAMAGE ALLOW $2,613.47 $2,613.47
1799 MISC. EXPENSES ALLOW $5,226.94 $5,226.94 $97,778.14
ACCT# QUANTITY UNITS X RATE SUB-TOTAL $155,213.48
1800 SET CONSTRUCTION
1801 CONSTRUCTION COORDINATOR
Prep 3.00 WEEKS 1 $1,741.09 $5,223.27
Shoot 3.00 WEEKS 1 $1,741.09 $5,223.27
Wrap 2.00 WEEKS 1 $1,741.09 $3,482.18 $13,928.71
1802 PROPMAKER FOREMAN
Prep 0.75 WEEKS 1 $1,614.01 $1,210.51
Shoot 3.00 WEEKS 1 $1,614.01 $4,842.03
Wrap 2.00 WEEKS 1 $1,614.01 $3,228.02 $9,280.56
1803 GANG BOSS
Prep 3.00 WEEKS 1 $1,331.55 $3,994.66
Shoot 3.00 WEEKS 1 $1,331.55 $3,994.66
Wrap 2.00 WEEKS 1 $1,331.55 $2,663.11 $10,652.43
1806 PROPMAKER/CARPENTER
Prep 3.00 WEEKS 3 $1,359.60 $12,236.43
Shoot 3.00 WEEKS 3 $1,359.60 $12,236.43
Wrap 2.00 WEEKS 3 $1,359.60 $8,157.62 $32,630.47
1808 LEAD SCENIC
Prep 3.00 WEEKS 1 $1,359.60 $4,078.81
Shoot 3.00 WEEKS 1 $1,359.60 $4,078.81
Wrap 2.00 WEEKS 1 $1,359.60 $2,719.21 $10,876.82
1810 PAINT DECORATOR
Prep 3.00 WEEKS 1 $1,359.60 $4,078.81
Shoot 3.00 WEEKS 1 $1,359.60 $4,078.81
Wrap 2.00 WEEKS 1 $1,359.60 $2,719.21 $10,876.82
1812 LABORER
Prep 3.00 WEEKS 3 $1,359.60 $12,236.43
Shoot 3.00 WEEKS 3 $1,359.60 $12,236.43
Wrap 2.00 WEEKS 3 $1,359.60 $8,157.62 $32,630.47
1816 TRUCKS / TRANSPORTATION ALLOW $2,922.33 $2,922.33
1820 PURCHASES / MATERIALS ALLOW $26,300.94 $26,300.94
1824 BOX RENTALS ALLOW $7,305.82 $7,305.82
1826 LOSS & DAMAGE ALLOW $1,461.16 $1,461.16
1899 MISC. EXPENSES ALLOW $2,922.33 $2,922.33 $40,912.58
ACCT# QUANTITY UNITS X RATE SUB-TOTAL $161,788.88
1900 SET DRESSING
1901 SET DECORATOR
Prep 3.00 WEEKS 1 $1,823.40 $5,470.19
Shoot 3.00 WEEKS 1 $1,823.40 $5,470.19 Wrap 2.00 WEEKS 1 $1,823.40 $3,646.79 $14,587.16
1902 DRAPER/UPHOLSTERER
Prep 1.50 WEEKS 1 $1,573.31 $2,359.97
Shoot 3.00 WEEKS 1 $1,573.31 $4,719.94
Wrap 1.00 1 $1,573.31 $1,573.31 $8,653.22
1904 SWING GANG
Prep 3.00 WEEKS 1 $1,600.71 $4,802.13
Shoot 3.00 WEEKS 1 $1,600.71 $4,802.13
Wrap 2.00 WEEKS 1 $1,600.71 $3,201.42 $12,805.69
1910 PURCHASES ALLOW $12,465.33 $12,465.33
1912 RENTALS ALLOW $9,972.26 $9,972.26
1920 LOSS & DAMAGE ALLOW $1,246.53 $1,246.53
1999 MISC. EXPENSES ALLOW $11,218.79 $11,218.79 $34,902.92
ACCT# QUANTITY UNITS X RATE SUB-TOTAL $70,948.98
2000 PROPERTY
2001 PROP MASTER
Prep 3.00 WEEKS 1 $2,058.32 $6,174.95
Shoot 3.00 WEEKS 1 $2,058.32 $6,174.95
Wrap 2.00 WEEKS 1 $2,058.32 $4,116.63 $16,466.52
2002 ASST PROPS
Prep 0.00 WEEKS 1 $1,823.46 $0.00
Shoot 3.00 WEEKS 1 $1,823.46 $5,470.37
Wrap 1.00 WEEKS 1 $1,823.46 $1,823.46 $7,293.83
2003 PROP PERSON
Prep 0.00 1 $1,823.46 $0.00
Shoot 3.00 1 $1,823.46 $5,470.37
Wrap 1.00 1 $1,823.46 $1,823.46 $7,293.83
2010 MANUFACTURING ALLOW $2,559.50 $2,559.50
2012 RENTALS ALLOW $13,415.77 $13,415.77
2014 CAR ALLOWANCE ALLOW $10,319.82 $10,319.82
2016 BOX RENTALS ALLOW $5,159.91 $5,159.91
2018 LOSS & DAMAGE ALLOW $2,063.96 $2,063.96
2099 MISC. EXPENSES ALLOW $1,031.98 $1,031.98 $34,550.95
ACCT# QUANTITY UNITS X RATE SUB-TOTAL $65,605.13
2100 WARDROBE
2101 COSTUME DESIGNER
Prep 3.00 WEEKS 1 $1,804.62 $5,413.86
Shoot 3.00 WEEKS 1 $1,804.62 $5,413.86
Wrap 2.00 WEEKS 1 $1,804.62 $3,609.24 $14,436.97
2102 KEY COSTUMER
Prep 3.00 WEEKS 1 $1,396.49 $4,189.46
Shoot 3.00 WEEKS 1 $1,396.49 $4,189.46
Wrap 2.00 WEEKS 1 $1,396.49 $2,792.97 $11,171.89
2104 COSTUMER
Prep 0.00 WEEKS 1 $1,396.49 $0.00
Shoot 3.00 WEEKS 1 $1,396.49 $4,189.46
Wrap 0.00 WEEKS 1 $1,396.49 $0.00 $4,189.46
2110 MANUFACTURING ALLOW $2,435.42 $2,435.42
2112 PURCHASES / RENTALS ALLOW $4,708.49 $4,708.49
2114 ALTERATIONS & REPAIRS ALLOW $811.81 $811.81 2116 CLEANING & DYEING ALLOW $1,298.89 $1,298.89
2118 CAR ALLOWANCE ALLOW $974.17 $974.17
2120 LOSS & DAMAGE ALLOW $162.36 $162.36
2122 BOX RENTALS ALLOW $811.81 $811.81
2199 MISC. EXPENSES ALLOW $324.72 $324.72 $11,527.68
ACCT# QUANTITY UNITS X RATE SUB-TOTAL $41,325.99
2200 MAKEUP & HAIR
2201 HEAD MAKEUP ARTIST
Prep 3.00 WEEKS 1 $2,054.87 $6,164.61
Shoot 3.00 WEEKS 1 $2,054.87 $6,164.61
Wrap 2.00 WEEKS 1 $2,054.87 $4,109.74 $16,438.97
2202 MAKEUP ARTIST
Prep 1.50 WEEKS 1 $2,054.87 $3,082.31
Shoot 3.00 WEEKS 3 $2,054.87 $18,493.84
Wrap 0.00 WEEKS 0 $2,054.87 $0.00 $21,576.15
2204 HEAD HAIR STYLIST
Prep 1.50 WEEKS 1 $1,681.32 $2,521.98
Shoot 3.00 WEEKS 1 $1,681.32 $5,043.97
Wrap 0.00 WEEKS 0 $1,681.32 $0.00 $7,565.95
2206 HAIR STYLIST
Prep 1.50 WEEKS 1 $1,681.32 $2,521.98
Shoot 3.00 WEEKS 1 $1,681.32 $5,043.97
Wrap 0.00 WEEKS 0 $1,681.32 $0.00 $7,565.95
2210 PURCHASES ALLOW $5,180.63 $5,180.63
2212 RENTALS ALLOW $971.37 $971.37
2214 BOX RENTALS ALLOW $259.03 $259.03
2299 MISC. EXPENSES ALLOW $64.76 $64.76 $6,475.78
ACCT# QUANTITY UNITS X RATE SUB-TOTAL $59,622.80
2300 MAKEUP EFFECTS
2301 MAKEUP FX ARTIST
Prep 3.00 WEEKS 1 $2,054.87 $6,164.61
Shoot 3.00 WEEKS 1 $2,054.87 $6,164.61
Wrap 0.00 WEEKS 1 $2,054.87 $0.00 $12,329.23
2302 ASSISTANT MAKEUP FX ARTIST 1
Prep 1.50 WEEKS 1 $2,054.87 $3,082.31
Shoot 3.00 WEEKS 1 $2,054.87 $6,164.61
Wrap 0.00 WEEKS 1 $2,054.87 $0.00 $9,246.92
2303 ASSISTANT MAKEUP FX ARTIST 2
Prep 1.50 WEEKS 1 $2,054.87 $3,082.31
Shoot 3.00 WEEKS 1 $2,054.87 $6,164.61
Wrap 0.00 WEEKS 1 $2,054.87 $0.00 $9,246.92
2310 MAKEUP FX MATERIALS ALLOW $11,134.50 $11,134.50
2320 MAKEUP FX RENTALS ALLOW $4,207.10 $4,207.10
2330 ADDITIONAL MUFX EXPENSES ALLOW $4,207.10 $4,207.10
2340 BOX RENTALS ALLOW $1,121.89 $1,121.89
2399 MISC. EXPENSES ALLOW $280.47 $280.47 $20,951.06
ACCT# QUANTITY UNITS X RATE SUB-TOTAL $51,774.12
2400 LOCATION EXPENSES
2401 LOCATION MANAGER Prep 3.00 WEEKS 1 $1,929.20 $5,787.60
Shoot 3.00 WEEKS 1 $1,929.20 $5,787.60
Wrap 0.00 WEEKS 1 $1,929.20 $0.00 $11,575.20
2402 KEY ASST LOCATION MGR
Prep 1.50 WEEKS 1 $1,157.80 $1,736.70
Shoot 3.00 WEEKS 1 $1,157.80 $3,473.40
Wrap 0.00 WEEKS 1 $1,157.80 $0.00 $5,210.10
2403 ASST LOCATION MGR
Prep 1.50 WEEKS 1 $793.10 $1,189.65
Shoot 3.00 WEEKS 1 $793.10 $2,379.30
Wrap 0.00 WEEKS 1 $793.10 $0.00 $3,568.95
2406 COOK / COOK-DRIVER
Prep 0.00 WEEKS 1 $2,008.20 $0.00
Shoot 3.00 WEEKS 1 $2,008.20 $6,024.61
Wrap 0.00 WEEKS 1 $2,008.20 $0.00 $6,024.61
2408 ASSISTANT COOK
Shoot 3.00 WEEKS 1 $931.35 $2,794.05 $2,794.05
2410 CRAFT SERVICE
Prep 1.50 WEEKS 1 $1,301.34 $1,952.00
Shoot 3.00 WEEKS 1 $1,301.34 $3,904.01
Wrap 0.00 WEEKS 1 $1,301.34 $0.00 $5,856.01
2412 BELOW-THE-LINE CATERING ALLOW $21,122.22 $21,122.22
2414 CRAFT SERVICE EXPENSES ALLOW $2,904.30 $2,904.30
2416 LOCATION RENTALS / FEES ALLOW $74,000.00 $74,000.00
2420 FILMING PERMITS ALLOW $1,584.17 $1,584.17
2422 LODGING / TRAVEL ALLOW $4,673.29 $4,673.29
2426 LOCATION SITE REPAIRS ALLOW $475.25 $475.25
2428 POLICE/FIRE/SECURITY ALLOW $1,584.17 $1,584.17
2430 HEAT / AIR CONDITIONING ALLOW $264.03 $264.03
2432 PORTA-POTTIES ALLOW $528.06 $528.06
2434 GARBAGE REMOVAL ALLOW $396.04 $396.04
2436 LOSS & DAMAGE ALLOW $264.03 $264.03
2499 MISC. EXPENSES ALLOW $528.06 $528.06 $108,323.60
ACCT# QUANTITY UNITS X RATE SUB-TOTAL $143,352.52
2500 ANIMALS
2501 ANIMAL HANDLER ALLOW $0.00
2502 ASSISTANT ANIMAL HANDLER ALLOW $0.00
2510 ANIMALS ALLOW $0.00
2520 ANIMAL CARE/FEEDING ALLOW $0.00
2530 ANIMAL TRAVEL / LODGING ALLOW $0.00
2540 ADDITIONAL ANIMAL EXPENSES ALLOW $2,000.00 $0.00
ACCT# QUANTITY UNITS X RATE SUB-TOTAL $0.00
2600 SECOND UNIT
2601 CAMERA OPERATOR
Prep 0.00 WEEKS 1 $1,679.76 $0.00
Shoot 1.00 WEEKS 1 $1,679.76 $1,679.76
Wrap 0.50 WEEKS 1 $1,679.76 $839.88 $2,519.63
2602 1st ASST CAMERA
Prep 0.00 WEEKS 1 $1,679.76 $0.00
Shoot 1.00 WEEKS 1 $1,679.76 $1,679.76
Wrap 0.50 WEEKS 1 $1,679.76 $839.88 $2,519.63
2603 2nd ASST CAMERA Prep 0.00 WEEKS 1 $1,679.76 $0.00
Shoot 1.00 WEEKS 1 $1,679.76 $1,679.76
Wrap 0.50 WEEKS 1 $1,679.76 $839.88 $2,519.63
2699 MISC. EXPENSES
ACCT# FRINGABLE LABOR FRINGE RATE SUB-TOTAL $7,558.90
2700 PRODUCTION FRINGES
2701 FICA 1,532,180.77 0.0620 $94,995.21
2702 MEDICARE 1,532,180.77 0.0145 $22,216.62
2703 FEDERAL UNEMPLOYMENT 500,164.35 0.0080 $4,001.31
2704 STATE UNEMPLOYMENT 637,720.35 0.0620 $39,538.66
2705 WORKERS COMP. STUNTS 132,407.87 0.0362 4793.164894
2706 WORKERS COMP. PRODUCTION 132,407.87 0.0362 $4,793.16
2707 DGA BELOW-THE-LINE 63,874.15 0.2222 $14,192.84
2708 SAG-EXTRAS 9,956.25 0.1530 $1,523.31
2709 NON-UNION EXTRAS 562.50 0.3105 $174.66
2710 IATSE 0.00 0.2300 $0.00
2711 TEAMSTERS 0.00 0.2100 $0.00
2712 PAYROLL BELOW-THE-LINE 1,408,590.82 0.0050 $7,042.95 $193,271.89
ACCT# QUANTITY UNITS X RATE SUB-TOTAL $193,271.89
5000 EDITING & POST TOTAL PRODUCTION $2,103,142.29
5001 EDITOR
Prep 3.00 WEEKS 1 $2,111.40 $6,334.21
Shoot 2.00 WEEKS 1 $2,111.40 $4,222.81
Post 6.00 WEEKS 1 $2,111.40 $12,668.42 $23,225.43
5004 1ST ASSISTANT EDITOR
Prep 3.00 WEEKS 1 $1,714.98 $5,144.94
Shoot 2.00 WEEKS 1 $1,714.98 $3,429.96
Post 6.00 WEEKS 1 $1,714.98 $10,289.87 $18,864.77
5006 2ND ASSISTANT EDITOR
Prep 0.00 WEEKS 1 $1,714.98 $0.00
Shoot 0.00 WEEKS 1 $1,714.98 $0.00
Post 6.00 WEEKS 1 $1,714.98 $10,289.87 $10,289.87
5010 POST SUPERVISOR
Prep 3.00 WEEKS 1 $2,020.98 $6,062.95
Shoot 2.00 WEEKS 1 $2,020.98 $4,041.97
Post 6.00 WEEKS 1 $2,020.98 $12,125.90 $22,230.82
5014 MUSIC EDITOR
Post 1.00 1 $1,964.20 $1,964.20 $1,964.20
5020 PURCHASES ALLOW $649.72 $649.72
5022 RENTALS ALLOW $1,673.04 $1,673.04
5024 EDITORIAL & POST TRAVEL & LIVING ALLOW $487.29 $487.29
5026 SCREENING ALLOW $162.43 $162.43
5030 DIGITAL DAILIES / CLOUD ALLOW $227.40 $227.40
5099 MISC. EXPENSES ALLOW $48.73 $48.73 $3,248.62
ACCT# QUANTITY UNITS X RATE SUB-TOTAL $79,823.72
5100 MUSIC
5101 COMPOSER (INCL. FRINGES) ALLOW $5,000.00 $5,000.00
5120 SONG LICENSES ALLOW $5,000.00 $5,000.00 $10,000.00 ACCT# QUANTITY UNITS X RATE SUB-TOTAL $10,000.00
5200 POST-PRODUCTION SOUND
5201 POST SOUND PACKAGE ALLOW $5,000.00 $5,000.00
5210 SOUND TRANSFERS ALLOW $3,937.50 $3,937.50
5212 OPTICAL TRANSFERS ALLOW $2,812.50 $2,812.50
5230 ADR ALLOW $2,500.00 $2,500.00
5236 DOLBY LICENSE FEE ALLOW $2,812.50 $2,812.50 $17,062.50
ACCT# QUANTITY UNITS X RATE SUB-TOTAL $17,062.50
5300 VISUAL FX
5301 VISUAL FX PROJECT FEE ALLOW $18,000.00 $18,000.00 $18,000.00
5320 VISUAL FX ADDITIONAL EXPENSES ALLOW $4,100.00 $4,100.00 $4,100.00
ACCT# QUANTITY UNITS X RATE SUB-TOTAL $22,100.00
5400 DELIVERABLES
5401 M&E ALLOW $1,687.50 $1,687.50
5402 DME ALLOW $1,687.50 $1,687.50
5404 TEXTLESS TITLES ALLOW $3,375.00 $3,375.00
5406 MUSIC ELEMENTS ALLOW $3,375.00 $3,375.00
5408 MAIN & END TITLE DESIGN ALLOW $10,884.38 $10,884.38
5410 VIDEO MASTER ALLOW $9,112.50 $9,112.50
5414 STOCK FOOTAGE LICENSING ALLOW $1,687.50 $1,687.50
5499 MISC. EXPENSES ALLOW $1,940.63 $1,940.63 $33,750.00
ACCT# FRINGABLE LABOR FRINGE RATE SUB-TOTAL $33,750.00
5500 POST-PRODUCTION FRINGES
5501 FICA 143,001.38 0.0620 $8,866.09
5502 MEDICARE 143,001.38 0.0145 $2,073.52
5503 FEDERAL UNEMPLOYMENT 28,000.00 0.0080 $224.00
5504 STATE UNEMPLOYMENT 33,356.80 0.0620 $2,068.12
5506 IATSE 143,001.38 0.2300 $32,890.32
5507 PAYROLL 143,001.38 0.0050 $715.01 $46,837.05
ACCT# $46,837.05
TOTAL POST PRODUCTION $209,573.27
6000 PUBLICITY
6001 SALES AGENT / PRE SALES ALLOW $25,000.00 $25,000.00
6004 PRESS / EPK / WEBSITE DESIGN ALLOW $10,000.00 $10,000.00
6010 WEB HOSTING / DOMAINS ALLOW $1,000.00 $1,000.00
6020 BTS VIDEOGRAPHER ALLOW $5,625.00 $5,625.00
6030 SERVICE DEAL DISTRIBUTION ALLOW $134,000.00 $11,812.50
6040 EMAIL / SOCIAL MARKETING / ADS ALLOW $1,250,000.00 $1,250,000.00 $1,303,437.50
ACCT# QUANTITY UNITS X RATE SUB-TOTAL $1,303,437.50
6100 INSURANCE
6101 PREMIUM, GENERAL LIABILITY ALLOW $27,000.00 $27,000.00
6104 E&O INSURANCE ALLOW $4,050.00 $4,050.00
6105 COMPLETION BOND ALLOW $433,000.00 $433,000.00
6110 UMBRELLA LIABILITY ALLOW $1,687.50 $1,687.50
6130 CAST PHYSICALS ALLOW $1,012.50 $1,012.50 $466,750.00 ACCT# QUANTITY UNITS X RATE SUB-TOTAL $466,750.00
6200 OTHER EXPENSES
6202 MPAA RATING ADMIN FEE ALLOW $6,750.00 $6,750.00
6204 LEGAL FEES ALLOW $9,675.00 $9,675.00
6206 POST PROD ACCOUNTING ALLOW $1,687.50 $1,687.50
6208 BANK CHARGES & FEES ALLOW $1,012.50 $1,012.50
6210 PURCHASES ALLOW $450.00 $450.00
6212 PREVIEW EXPENSES ALLOW $1,800.00 $1,800.00
6299 MISC. EXPENSES ALLOW $1,125.00 $1,125.00 $22,500.00
SUB-TOTAL $22,500.00
TOTAL OTHER EXPENSES $1,792,687.50
TOTAL ABOVE-THE-LINE $706,518.07
TOTAL BELOW-THE-LINE $4,105,403.06
ABOVE & BELOW-THE-LINE $4,811,921.14
10.00% CONTINGENCY $481,192.11
GRAND TOTAL $5,293,113.25
APPENDIX F
COMPLETION BOND, PRODUCTION INSURANCE, E&O INSURANCE OVERVIEW
In this appendix you should provide letters from the completion bond company and all insurance companies indicating the rate at which your production will be covered. Having a completion bond makes your company much easier to fund because it literally guarantees the film will be finished and released even if the bond company has to pay money to cover those costs
INFORMATIONAL ONLY: THIS IS NOT A SOLICITATION FOR INVESTMENT. 25
APPENDIX G
LETTER(S) FROM BANK(S) INDICATING THE AVAILABILITY OF LOANS BASED ON PRE-SALES AND STATE REBATES
This is where you include a letter provided by a bank which covers loans they will make based upon assets like international pre-sales, distributor minimum guarantees, and state rebates.
INFORMATIONAL ONLY: THIS IS NOT A SOLICITATION FOR INVESTMENT. 26
APPENDIX H
PROOF OF PROVISIONAL ELIGIBILITY FOR STATE TAX INCENTIVES AND REBATES
Generally when a state offers rebates or sellable tax incentives to a production, production companies have to apply for eligibility before production begins. This is handled by the line producer. After the production is finished and wrapped, the line producer will work with state auditors to go through all expenses in order to determine the amount of the rebate or incentive the production earned.
This rebate is sometimes a cash payment. Sometimes it is a tax incentive the production can sell to a business that has a big tax liability in the state. There are third party companies who will sell these incentives for you. You will use these proceeds to pay off the loan the bank gave you.
Note, some countries outside the US will give production companies upfront payments, and payments during production, in return for shooting projects there. Before you move your production to Ireland or some other country, it is worth noting that US production companies that shoot in the US, and their investors, get huge US tax benefits from keeping their productions here.
So where you shoot your film has a lot to do with who your investors are, where your production company is formed, and who your production partners are.
INFORMATIONAL ONLY: THIS IS NOT A SOLICITATION FOR INVESTMENT. 27
APPENDIX I
PROOF OF PRESALES
Here is where you include letters from those who have purchased rights to your film or who have offered your company minimum guarantees. Note that this is sensitive information, so you may decide you want to withhold this information from people with whom you share your business plan. If that’s the case you can provide a letter from your lawyer that reviews the sum value of presales and minimum guarantees.
INFORMATIONAL ONLY: THIS IS NOT A SOLICITATION FOR INVESTMENT. 28
APPENDIX J
PROOF OF PRESALES
INFORMATION ON COLLECTION MANAGEMENT ACCOUNT
Here is where you may include a letter from your attorney or Fintage House documenting collection account management.
INFORMATIONAL ONLY: THIS IS NOT A SOLICITATION FOR INVESTMENT. 29