INTRODUCTION

— There are so many things that go into making a series or a movie that get so little attention. Please use this page as a directory of the people (and pieces) that could come together to make Bound, and as we assemble team members over the year, we’ll add updates and profiles here. … The page can also act as a general breakdown of the funding goal, as each section has summaries of a department’s objectives, plus listings of the (potential) jobs.

the storY DEpts.

WRITING

— The first four episodes of the series have been written, though they’re up for major review after casting and location selection. Before writing the next set, we’d like to fund up to four writers to offer different voices on the new episodes and to help review the ones written, plus brainstorm on ideas for the future story at large.

DIRECTION

— The series would feature two directors, who’d each direct a set of four episodes. The directors would also lead much of the casting. For Bound, we’re looking for fresh faces across the board and would allot resources in assembling the large, ensemble casts, plus resources for development, with funds for adequate study and rehearsal time.

SETTINGS

— Creating the world for everyone to write and work within. The preferred goal is to find a space to custom-build two, (smaller) main sets, which are a hotel lobby and a cafe. Another option is to rent out an existing hotel and cafe that can fit the story’s objectives. Funds cover the set construction and/or property rental, plus decor pieces.

CHARACTER

— Creating total “looks” for the characters, from wardrobe to makeup and hairstyling. Over the course of eight episodes, 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 hmu/styling.

Potential, story crew.

  • Story Director

  • Episode Writer(s)

  • Scripty/Script Supervisor

  • Senior Director

  • Episode Director

  • Casting Associate

  • Storyboard Artist

  • Production Designer

  • Lead Artisan (Project Manager)

  • Set Decorator

  • Props Master/Wrangler

  • General Contractors —>

  • Costume Designer

  • Lead Hair & Makeup

  • Makeup Artist

  • Hair Stylist

  • Stylist / Tailor

the style Depts.

PHOTOGRAPHY

— Our goal is to budget a little more money upfront to try to purchase some (pre-owned) professional gear, like a camera kit, rigs and maybe lens(s). This prevents the 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 of the potential lack of resources in a location.

EDITING + EFFECTS

— In addition to stitching the episodes, we’ll also include here color correction and a suite of visual elements fine-tuned in post-production. For example, we’ve got ideas for cool graphics or animations (for credits), plus at least two sequences which may require some VFX love, which would be done by a partner company.

SOUND

— 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.

MUSIC

— In building the music team, we’ll look for crew member(s) who can both compose score and produce music or facilitate production. For score, we want to create a base “theme” sound, to be dictated by the setting’s cultural qualities. We’ve also considered a small fund for use of songs (likely by less-discovered artists) that can elevate a scene.

Potential, style crew.

  • Cinematographer

  • Gaffer

  • Camera Operator

  • Key Grip

  • 1st AC

  • DIT

  • ELT

  • Utility / 2nd DP

  • Chief Editor

  • Lead Colorist

  • 2nd Editor

  • 2nd Colorist

  • VFX Artist(s) —>

  • Sound Director/Designer

  • Sound Recorder

  • Boom Operator(s)

  • Sound Editor

  • Foley Artist

  • Utility (Recording & Mixing)

  • Music Director

  • 2nd Composer

  • Musician(s) —>

THE scope depts.

STAGING

— Staging includes a fluid coalition of actions like scouting and securing filming locations; coordinating for practical effects; sourcing props or gear and cultivating municipal or business relationships. For Bound, we want to film on-location in a city/area authentic to the story and then feature locations and build up partnerships within it.

LOGISTICS

— It’s all about timing, baby. This is where the master and block schedules get made. Then, it’s where those schedules are facilitated by (persistently) ensuring teams are on the same page and that movement of people and pieces are on point. Every day can bring an obstacle - a “switch up” - so it’s important to fund proper coverage.

MANAGEMENT

— This is where overall and block budgets get crafted and/or enforced. Management also address HR structures, plus greener (footprint) practices by all. We’ve budgeted for insurances and supplies and considered more complex sequences in the scripts which may require the addition of security or medical personnel.

SERVICE

— Any way you spin it, people are going to have to travel for Bound. We’ll work to keep support crew local to mitigate cost, but the main cast and department heads will likely be spread out. So, flights and housing are budgeted for them. We’ve also included funds for grocery and/or meals for crew who will be on-location for extended periods.

Potential, scope crew.

  • Chief Coordinator

  • Location Manager

  • Extras Coordinator

  • PA(s)

  • Field Director (AD)

  • Crew Captain (Manager)

  • Driver(s)

  • Loader(s)

  • PA(s)

  • Production Chief

  • Set Marshal

  • PA(s)

  • Security —>

  • Medic —>

  • Service Director

  • Production Chef / Caterer

  • Sous / Crafty

  • PA(s)

the scale depts.

PLATFORM

— For an independent production, it’s important to consider the totality of a series. Not just the episode production but also the environment in which those episodes can play. So, we’ve included funds to build and maintain a lean, mean, custom site which can be used for streaming, plus other engagement with the series.

MARKET

— In a future, larger scale this would include cultivating sponsors or other, financial partnerships for the series, but for now, it’s finding creative ways to deliver and sustain the series, like with campaigns, select merchandise and a travel/trip contest. We considered funds to both develop items and facilitate select ventures.

BRANDING

— That poster matters and you do judge a book by its cover. Here, we considered funds for art and copy on just about anything - from themed art that accompanies a season, to promotional campaigns, to continually updating work for the website. We also budgeted for digital advertising space and select, physical installations.

PUBLICITY

— Let’s have some fun. We’d like to produce material like team profiles, behind-the-scenes documentation, short/social videos, plus a screening or two, all to help spread the word on the series and the people within it. Because when you really believe in and enjoy something, you want to try to tell as many people as you can.

Potential, scale crew.

  • Platform Director

  • Site Developer —>

  • Translators —>

  • Managing Director / EP

  • Account Officer

  • Product Manager —>

  • Art Director

  • Artist(s)

  • Copy Editor

  • Social Director

  • Videographer/Photographer

  • Blog Writer / PA

In the optimistic end, Bound would be made by about 60-70 people, including the cast ensembles. Support crew would be local to the filming location but the main cast and select department heads would likely be spread out over cities or countries, before traveling to location for production. — It’d be an adventure, much like the story itself. *