What’s the money for?

TOP SERIES COSTS:

Pay and care for team members.
Taxes!
Set builds and/or set rentals.
(Studio) gear inventory.
Campaigns for funding.

* Costs are estimated around a full-season (16, half-hour episodes + 1, hour-long special) which incurs more upfront costs.

— This page was inspired by a conversation with a friend about the series’ ambition. The friend is, uh, truthful and less familiar with filmmaking and when I told him about the funding goal he responded with a sincere and simple “What the [blank] do you need that much money for?!” … He’s not wrong in his strong reaction. It is a lot of money. For context, though, a standard, scripted series on streaming or network will easily cost $2-3 million per episode. There are many things, which add up, that go overlooked in filming.

For So Far Bound, the current goal is a scale of $250,000 per episode, after taxes. To arrive at that average, we mapped a total production (from development to distribution) from various angles and considered experiences on projects at larger and smaller scales and what those became. This particular level (250) would afford more than just the basics like camera and sound; it can cover pay for 60+ team members, including a fuller complement of writing, design and production crew, plus give the chance to build some inventory and infrastructure on-location. It can also include funds to better promote and thus sustain the project. Finally, it’s worth reminding that 20-30% of any budget or goal disappears into taxes/fees … There is always the option to pivot to a more grassroots, “backyard” version of an episode, but, for now, we’ll strive for a little more.

the filming table.

— Below, find a further breakdown of where the money raised goes. You’ll find summaries of different elements of a film or series production and our goals for each. It’s all compiled with a full season of 16 half-hour episodes + 1 hour-long special in mind. … Note: team members listed below, per section, are potential regular or full-time personnel for Bound; there would also be partners and day players along the way.

A Elements

— These decide the story and narrative scope. Scripts are obvious, but available casting and location influence, sometimes heavily, the ideas.

Writing (Research + Scripting)
— The first four episodes of the series have been written, though, they’re up for review after casting and location selection. Before writing the next set, we’d like to fund more writers to offer different voices on the new episodes and to help review the ones written, plus research on ideas for the future story at large.
Potential team.
- Story Director/Editor
- Episode Writers (4)
- Scripty/Script Supervisor
Primary expense.
- Writer’s room.
Performance (Casting + Development)
— For Bound, we’ll look for fresh faces across the board in the main and support cast. First, because we have to, but also, because it’s more exciting that way. With the larger ensembles, we’d like to fund a dedicated Casting Director and funds for adequate rehearsal and development time for all the actors.
Potential team.
- Casting Director
- Main Cast
- Support Cast
- Guest Actors
Primary expense.
- In-person table read (in pre-production).
Direction‍ (Style + Composition)
— In the scenario of a full season, we’d try to hire at least 4 episode directors, ideally one per block of episodes.
Potential team.
- Episode Directors
- Storyboard Artist(s)
Primary expense.
- Adequate prep time.
Staging (Location + Resources)
— Here, a producer and team would help finalize an overall, filming location and then scout and secure main and secondary settings and production resources within it. … For Bound, this can also include building and maintaining a platform (website) for streaming and engagement if the project stays more independent.
Potential team.
- Producer (Exec)
- Producer (Deputy)
Primary expense.
- Location rentals throughout a season.

B Elements

— These elements are about bringing the concepts written to life, like designing and making sets and costumes, plus special effects plans.

Design (Set Design + Construction)
— Creating the world for everyone to write and work within. One option for the series is to find space to custom-build two, compact main sets, which are a hotel lobby and a cafe/dining area. Another option is to rent out a small, existing hotel (think 20-30 rooms) and a cafe that can fit the story’s objectives. The number of episodes will ultimately decide which course; we won’t build sets for one episode, for example. In addition to main sets, funds would also cover decor/design for other, featured locations.
Potential team.
- Production Designer
- Project Manager (Builds)
- Set Decorator
- Key Scenic
- Props Master/Wrangler
Primary expense.
- The construction or rental and retrofitting of the main sets.
Costume (Wardrobe + Vanities)
— Creating total “looks” for the characters, from wardrobe to makeup and hairstyling. Over the course of a season, there will be dozens of looks for all the main and supporting characters, each of whom have a distinct style. We’ve considered allotments, per character, for wardrobe pieces and sufficient funds for hair/makeup.
Potential team.
- Costume Designer
- Lead Hair & Makeup Artist
- Makeup Artist
- Hair Stylist
- Stylist / Tailor
Primary expense.
- Wardrobe for up to 20 recurring characters, over a season.
Stunts (Stunt Design + Practical Effects)
— These elements won’t much apply to Bound; I just wanted to be a complete-ist on the scope of filmmaking. At most, we’ll have some scenes with some (hectic) running, and maybe a small blast or two. In fact, because of Bound’s smaller scale, sequences with a lot of extras (actors) or unique props can be considered “special effects” for us.
Potential team.
- Effects Coordinator (Practical)
- Set Marshal (Safety)
Primary expense.
- Select scenes with a lot of background actors.
VFX (Visualization + Rendering)
— Again, not for Bound. If there’s any use in the series it would be small details, here and there.
Potential team.
- N/A
Primary expense.
- N/A

C Elements

— These are the actual recording and editing elements that dictate how things written, designed and built are seen, heard and feel.

Photography (Camera + Electric)
— Our goal is to budget a little more money upfront to try to purchase some (pre-owned) studio gear, like a camera kit, rigs and maybe a lens(es). This prevents the super costly rental loop, plus it allows far more flexibility in scheduling and filming, as you’re not at the mercy of a rental house or at the potential lack of resources in a location. We’ll also need proper storage of the gear on-location.
Potential team.
- Director(s) of Photography
- Gaffer(s)
- Camera Operator(s)
- Key Grip
- 1st AC
- DIT
- ELT
Primary expense.
- A studio grade, camera kit purchase for future episodes.
Sound (Recording + Mixing)
— Here we include two facets of sound: first, the recording of dialogue and sounds during filming, and second, editing and mixing those sounds, plus creating new ones, during post-production. Our goal is, again, to try to purchase some sound gear upfront, to both cut the rental loop and to be able to customize for production needs.
Potential team.
- Sound Director/Designer
- Sound Recorder(s)
- Boom Operator(s)
- Sound Editor
- Foley Artist
- Sound Asst.
Primary expense.
- A studio grade, sound kit purchase.
Editing (Assembly + Color)
— In addition to editing the episodes, we’ll also include here color correction and other, visual fine-tuning in post-production.
Potential team.
- Lead Editor
- Colorist(s)
- Editor(s)
Primary expense.
- Maybe partnership with a company for original graphics/credits.
Music (Score + Songs)
— For score, we want to create a base “theme” sound, to be dictated by the setting’s cultural qualities. If it’s Brasil, for example, think Afro and Latin influence. We’ve also considered a small fund for use of songs (likely by less-discovered artists) that can help elevate scenes.
Potential team.
- Music Director
- 2nd Composer
Primary expense.
- Maybe music/song rights. It depends on if everything else gets sufficient coverage first.

D Elements

— These elements can bleed together and will have the most crossover among crew and variety of tasks. Bottom-line, they setup and support all.

Line (Budget + Standards)
— A coalition of items from development to distribution with focus on maintaining standards, including planning and adhering to budgets; proper accounting; implementing HR/payroll structures and cultivating safety and footprint guidelines.
Potential team.
- Line Producer/Manager
- HR/Office Asst.
- Series Accountant
Primary expense.
- Paying taxes.
Logistics (Schedule + Communication)
— This is where the master and block schedules get made and then constantly tracked and communicated. It’s where production progress is facilitated by persistently ensuring teams are on the same page and that movement of people and pieces are on point. Every day can bring a surpriiiisse, so it’s really important to fund proper coverage here.
Potential team.
- AD/Field Director
  2nd AD(s)
- PA(s)
Primary expense.
- N/A
Travel (Housing + Transportation)
— Any way you plan it, people are going to have to travel for Bound. To mitigate costs, we’ll work to keep support cast and crew local to a location, but the main cast and department heads will likely be spread out. As such, we’ve budgeted for housing and flights for team members. … Also, this can include transportation vans for production.
Potential team.
- Producer/Coordinator
- Deputy Producer
- Driver(s)
Primary expense.
- Housing (think modest apartment rentals, not hotel suites).
Service (Food + Care)
— We’ve also included funds for grocery and/or prepared meals for crew who will be working and on-location for extended periods, plus funds for basic craft service, sanitation and first aid supplies.
Potential team.
- Service Director/Chef
- Assistant / Crafty
- Set Attendant
Primary expense.
- Meals for crew over a season.

X Elements

— If we’re going to invest so much into the above, we’ve got to consider the next elements, which focus on getting the word and the episodes out.

Advertising (Art + Installation)
— We’d like to cover artwork (a campaign) for the first episodes and up to a full season. This includes pieces for digital and physical installation (which also must be payed for).
Potential team.
- Art Director
- Artist(s)
Primary expense.
- One, large (and creative) physical installation.
Publicity (Social + Events)
— We’d like to cover the production of some short videos (think interviews and games) for YouTube and social media, plus potentially plan smaller events, like screenings.
Potential team.
- Social Producer
- Photo/Videographer (BTS)
Primary expense.
- A premiere/screening, if feasible.
Distribution (Streaming + Translations)
— This includes ensuring the series website is sufficient for streaming (if independent) and can also include subtitling and prepping episodes at-large for international play. With such a diverse cast, we’d like to offer translations of episodes and supporting material in a few languages, to start.
Potential team.
- Liaison (Translations)
Primary expense.
- Maybe partnership with a company for website-build.
Commerce (Merchandise + Ventures)
— As long as the project is independent, we’ve got to consider investing in supplementary and creative ways of sustaining the project. This can include making selective merchandise and developing other add-ons/ventures through the website.
Potential team.
- Designer (Product)
- Site Manager (Shop)
Primary expense.
- N/A