What is a line producer? What do they do? Great question. And not uncommon, even for people well-versed in film. The role of the line producer, like many inner-workings of the entertainment industry, is shrouded in secrecy.
We’ve got the “ins,” we’ve done the research, and right now we’re going to give you the ultimate answer to the question, “What does a line producer do?” We’ll also discuss line producer salary, how to become a line producer and everything you’ll need to get the job done.
Line Producer Overview
A production leader
1.1 WHAT IS A LINE PRODUCER?
Keep a close watch when you walk the line
A line producer is an essential managerial position. He or she is directly responsible for the financial aspects of a production. The line producer generates and continuously reviews the budget line-by-line (hence the job title).
The line producer also oversees all operations and logistics for a film, from the pre-production phase through delivery of the completed work.
A line producer’s role is often coupled with the title production manager or production supervisor, depending on the format or budget of the project.
1.2 HOW DO YOU BECOME A LINE PRODUCER?
Golden rules to move up the ranks
There’s no single way to become a line producer.
While most start as office PAs and work their way up to production coordinators, others take different paths.
Regardless of how you get there, stay dedicated and do each job to the best of your ability. People notice hard workers. And hard work is exactly what it takes to be a line producer.
Stay engaged. Be alert, curious, and professional.
Always be ready to help.
How to Become a Great Line Producer
1.3 WHAT DOES A LINE PRODUCER DO?
Managing the production line
Line producer job description and duties:
- Set up the production company
- Manage budgeting
- Recruit personnel and services
- Schedule shoot dates and locations
- Oversee daily production
- Communicate with 1st AD and unit production manager
- Provide equipment
- Facilitate last-minute scheduling changes
- Act as liaison between crew and producers
- Communicate with post-production supervisor
- Manage budgeting and salary for editors, composers, sound designers, and VFX
- Track deadlines
- Create deliverables schedule
- Guide delivery of completed components to guarantors, unions, producers, and sales agents
- Track and meet distribution needs
1.4 LINE PRODUCER SALARY
Day rates and dollar signs
One of the best-kept secrets in Hollywood is the line producer salary.
Truth is, it depends on the budget of your project and the experience of the line producer.
A $70 million studio film might offer a talented line producer $6,500 per week. And that doesn’t include housing, meals, and per diem.
Not too shabby.
A per diem in film is a stipend given to any employee, crew, or cast member traveling for a production. Per diems are mandated by entertainment industry unions for any production outside the 30 Mile Studio Zone (TMZ).
Line producers working on commercials typically make between $450 and $900 a day. Of course, this is often higher if you have an impressive line producer resume.
For a smaller film, say $7 million, a line producer can expect to make roughly one percent of the total budget.
A line producer’s salary is often negotiated as a flat rate with several perks, such as production vehicles, kit fees, housing stipends, and more.
1.5 PRODUCTION MANAGEMENT SOFTWARE
The line producer’s magic hat
The key to being a great line producer is simple: stay organized and efficient.
Pay attention. Don’t wait for others to come to you. Meet with someone from every department every day.
Keep digital copies.
You need to be able to find anything, anywhere, in less than 30 seconds. Many believe the shoot they’ve so painstakingly planned will go off without a hitch.
Line producers and assistant line producers know it’s not if something will go wrong, but when. Putting out fires is a major part of the line producer job description.
Imagine doing everything without the right tools. Imagine trying to put out fires without a fire extinguisher.
You’d burn up in a hodgepodge of PDFs and spreadsheets. Too much stress. A disaster waiting to happen.
Production management software is your answer. Investing in a cloud-based production management solution will make it easy to stay on top of the many facets of production.
Sure, we’re biased, but we recommend:
StudioBinder is the most intuitive all-in-one workflow solution for film, television, and digital production.
You can integrate all your contacts.
You can build, distribute, and log your call sheets, and much more, all in one seamless resource.
It’s the line producer’s job to make sure a little glitch won’t cause a chain reaction and grind production to a halt.
Here’s a tip.
Make sure talent is happy with a simple question: “Everything going smoothly?”
This one question could save your production.
So could keeping your schedule and documents in one easy-to-access place.
Did You Know?
The most common small fire you will encounter during your shoot is the meal penalty. Going over union-approved hours before a required meal break can cost more than just money. Morale is many times as important as the money involved. If necessary, a third meal should be ready to eat as soon as the crew realizes they’re working late. Keep your grips happy and save your production.
Don’t sweat it, we’ve done it for you:
According to SAG-AFTRA, all performers must be given the first meal break within six hours of first call. The second meal break must occur within six hours of return from the first meal break.
Meal breaks must be at least 30 minutes, but the producer can deduct actual time, up to one hour, spent at meals.
To synchronize performer and crew meal times, performers may be given a non-deductible 15-minute meal break within two hours of call time. A notation indicating start and end time of this non-deductible meal must be on the production time report.
The first meal break would then be due six hours from the end of this non-deductible meal.
Meal penalty payments for violations of either meal period are:
- $25 for the first half-hour or fraction thereof.
- $35 for the second half-hour or fraction thereof.
- $50 for each half-hour thereafter or fraction thereof.
Note that for Student, Short, and Ultra Low Budget Films, the meal penalty amount is reduced to $25 per half-hour or fraction thereof.
The Pre-Production Workflow
The starting line for every line producer
2.1 SET UP A PRODUCTION COMPANY
Establishing an entity is part of your identity
Let’s look in detail at the first essential duty every line producer needs to know how to do.
A film’s pre-production phase is an exciting time.
And the line producer has to channel everyone’s excitement to get the ball rolling.
See, once funds are in place, the line producer has to figure out the best kind of company to set up. A film, television, or commercial project should be considered a separate business entity for all intents and purposes.
Your new LLC, S Corporation, or Limited Partnership will normally include a variation of the project’s name.
Why a new company for one film? An LLC, or limited liability company, for example, limits investor liability to the LLC itself. This protects partners from potential losses incurred.
S Corps and Limited Partnerships offer similar benefits. Speak to the financiers or an entertainment lawyer for advice on what kind of company works best for you to set up.
Tasks included in setting up a production company? Open a bank account, find a production office, get a phone line, and start an email address.
You’ll also want to talk to an insurance broker and consider a completion bond for the production. Hiring a lawyer and finding a payroll company are necessities as well.
Finally, create letterhead for the project, and at every step you’ll want to track all production paperwork and documents.
The start of the pre-production stage requires a lot of work. But the savvy line producer knows it will pay off in every subsequent phase of production.
Speaking of production, one of the most important contributions a line producer will make is determining the union status of a project.
Whether or not your project is SAG-AFTRA will greatly impact your budget. It will also affect the level of talent your film attracts.
2.2 BREAK DOWN A SCRIPT
Seizing the breakdown crown
The most important step after you’ve set up your production company is to break down the script.
It’s a good idea to review everything you need to know about breaking down a script with this free script breakdown ebook.
Your script breakdown is a two-part process.
The 1st Assistant Director is usually the first person to break down the script. The best way to get the ball rolling is to use production management software to share files so you can keep tabs and collaborate.
The 1st AD answers to the director on set and join the project during pre-production to assist in breaking down the script and hammering out the shooting schedule.
In the first pass, the 1st AD will identify ALL the elements of the script that need to be considered for filming.
The second part of the script breakdown process is to note timing, scheduling, and locations.
Here you and the 1st AD will break out strip boards and start to arrange by location, time of day, talent needs, and other considerations.
Where the action is
3.1 PRODUCTION INSURANCE
How to become a line producer and stay one
Insurance isn’t sexy.
It’s hard to get excited about insurance. But a firm understanding of production insurance, knowing why it’s important, and how it works are all crucial points on any line producer resume.
You’ve most likely already obtained production insurance during the pre-production phase.
A good line producer will always be adjusting his or her work. Insurance is no exception. Once you know the scope of your project, you’ll need to reassess your insurance needs.
Line producers routinely work with hundreds of certificates of insurance (COI), vendors, and various requirements. Today, we’ll streamline production insurance for you.
Production insurance considerations include:
- Talent ages
- Workman’s compensation
It is recommended that you speak with a broker who specializes in entertainment insurance. Film Emporium is a trusted industry leader and works with both indie filmmakers and studios. There is an online application to get you started.
When filling out the insurance intake form, be as honest as possible and go for the most comprehensive coverage.
Go in knowing that basic insurance, short-term or annual, is going to cost at least a few thousand dollars. Beyond this, we advise budgeting 2.5 percent of your total budget for production insurance.
One safe bet:
You will never regret having too much insurance.
When you work with an insurance broker, make sure that your choice is an entertainment insurance broker, specializing in entertainment or production policies.Entertainment insurance brokers understand the world of production, and all the risks involved. They know how to “package the policies” to give you the most coverage at the best rate.
An entertainment specialist will also be able to answer questions and provide insight. Insurance is such an integral part of any production that your broker will likely be able to share a few pointers where you least expect it.
Note that if insurance brokers advertise policies for businesses, renters, auto, or other forms of insurance, they are most likely not an entertainment insurance specialist.
3.2 MANAGE A PRODUCTION
Stay alert and engaged
As mentioned, many line producers have the dual title of production manager.
That means you, as the line producer, are where the buck stops.
The 1st AD is responsible for how the production runs. But the line producer-production manager (LP/PM) must make sure every element is ready for the team.
What does a line producer do during the shoot?
To start, a line producer should visit every HOD to ensure they’re prepared for the day’s scenes. A line producer should also check for any concerns about future shoot days.
Payroll is another consideration the line producer needs to keep in mind on a daily basis.
If your talent payroll is late in any way, SAG-AFTRA will shut down your production. They may even snag the bond your production has given them.
The payroll company you’ve chosen will be an essential ally to your production. Meet with your production accountant every week to make sure you are on track in every area.
3.3 PREPARE FOR POST-PRODUCTION
Get ready for the end
Before and throughout the shoot, the line producer will be setting up post production. This means thinking ahead about deliverables for marketing and distribution.
It also means taking care to confirm that the post-production pipeline is clearly defined.
The line producer duties of hiring the production crew during pre-production now extends to hiring the post-production crew. This involves the same process.
You can use ProductionBeast to hire post-production professionals such as editors, composers, and sound designers.
Line producer responsibilities include obtaining a post-production facility, and ensuring the delivery of production materials.
A post-production supervisor will oversee post.
But you’ll want to touch base with the post supervisor. Stay engaged. Maintain a firm understanding of the post-production process ensure everything stays on track.
Wrap and Beyond
The end of the line
4.1 OVERSEE EVERY FACET OF PRODUCTION
Wrap it up with a bow
A line producer’s wrap duties begin long before the 1st AD yells, “That’s a wrap!”
By the time the ship lands, you’ll need to know every nook and cranny of the production. From call sheets to locations, and from every line of the budget to the minute-by-minute production calendar, a line producer has to be able see the big picture anytime, anywhere.
StudioBinder is your bridge on the Starship Enterprise. And the line producer is Captain Kirk — or Captain Picard, if you prefer.
For wrap, the line producer will need to calculate things like tax incentives and overages.
You’ll also want to keep an eye on all the equipment. What can be returned early? Where can you save money?
Coming in under budget can lead to more films on your line producer resume.
4.2 ENSURE DELIVERY
Deliver the goods
A line producer should be thinking about deliverables from the beginning of production. Meet with your team. Find out exactly what post-production needs and deliverables are expected.
Deliverables are items presented at the completion of a project which follows predetermined guidelines. Deliverables can be in any form and from any department on a project. There is usually one or more persons responsible for gathering these elements for completion.
As production wraps, you’ll need to get specific deliverables to completion guarantors, unions, producers, and sales agents.
A sales agent represents producers and filmmakers who want to find distributors for their films. Sales agents often play a crucial role in an independent film.
They’re well-versed in figuring out a strategy to marketing the film in any number of territories. A good sales agent can even get your film made if the right territories opt-in before cameras roll.
If you’ve done your job well, this part should be a piece of cake.
Simply use your production binder or digital files to produce every contract, release form, location agreement and whatever else is requested.
4.3 ON TO THE NEXT JOB
Keep walking the line
Yes, you did it!
After all the excitement of the production take a moment to breathe.
Okay, maybe two.
Yes, line producing can be taxing in every regard, but your efforts ensure that the production comes in on time and under budget.
So catch some shut-eye, and get ready for your next job. We suggest checking out film and video job boards like ProductionBeast to find new opportunities.
Learn how to break down a screenplay
Now that you have a detailed understanding of line producer job responsibilities, you’re ready to take the first step.
Learn how to create script breakdowns, categorize production elements, and generate and track all the reports you need to become a production professional.
The breakdown leads to the budget and schedule. Get your production started on the right foot.
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