TABLE OF CONTENTS
A. Story Departments
B. Craft Departments
C. Field Departments
D. Pitch Departments
NOTE — There are so many things that go into making a series or a movie that get so little attention. As Bound builds, please use the “Departments” page as a guide to the elements that must come together to make the series at a certain standard. The page will be a directory, as we add team member profiles, and also, it can act as a general breakdown of the funding goal:
Each section has a department overview and listings of the needed jobs to fill. Overall, it’s the cumulative jobs included that are the greatest expense of the project (and rightfully so). The jobs will make up 50-60% of the budget, with the rest going to set design, gear sourcing, platform build and of course - as sure as death - taxes and fees on fundraising and production.
the story depts.
Introduction to “STORY.”
— The following departments fall under this umbrella because they most influence, well, the storytelling. Writing is obvious, but it also includes performance, which dictates tone, plus settings and character which inform the narrative.
WRITING
— The frontier of the whole damn thing. This is where research on larger themes and smaller plot points happens, and then, of course, the scriptwriting. For Bound, we’d like to fund up to four writers to work on the initial eight episodes and to start framing and writing for the future of the series.
Jobs included
Story Director — This person leads all scriptwriting initiatives. They take charge of outlining the larger story and then tracking progress on scripts written. During filming, they may act as a script supervisor, ensuring continuity and coverage of scenes.
Episode Writer (4) — To write and consult on episodes.
PERFORMANCE
— The root of the story. The characters and thus the writing will be built around the actors, so we’d like to hire help in assembling the large cast and have resources for a thorough audition process. Also, we’ll need a director (whose primary role is working with actors) for episodes 5-8.
Jobs included
Senior Director — This person helps in finding actors for the main and supporting ensembles, then leads with development or rehearsals with cast members. They may also direct episodes 5-8 or help scout someone to do so.
Episode Director — Directs episodes 5-8.
SETTINGS
— Creating the world for everyone to work in. Our primary goal is to find a space to construct two, main sets (the hotel lobby and the cafe). Otherwise, we’ll try to find existing locations that can be re-fitted/designed for the story. Funds would cover minor construction and/or a large property rental.
Jobs included
Production Designer — This person helps establish the design template for sets and the series overall. They lead in the construction of sets and/or on the decoration of main sets and other locations written into the scripts.
Settings Crew — For construction, we can partner with local contractors. We’ve also considered design assistant(s).
CHARACTER
— Crafting looks for the characters, who drive the story. This includes wardrobe, makeup, hair styling and some props. We’ve budgeted leaders for each sub-dept. and an allotment for wardrobe pieces over the eight episodes. There will be dozens of looks for all characters across the episodes.
Jobs included
Costume Director — This person leads in crafting a total look for each character. They source wardrobe for each actor and map out wardrobe or “look” changes over the eight episodes then guides the department throughout filming.
Lead Makeup Artist — Plans makeup needs over episodes.
Lead Hair Stylist — Styles as needed over the episodes.
Character Crew — Dedicated assistant for each department subcategory, as needed.
the craft depts.
Introduction to “CRAFT.”
— The following departments are all about capturing or highlighting the ideas from the story departments. Included are the visual elements of photography and editing, and the audio elements of sound and music.
PHOTOGRAPHY
— What the hell you gonna look at? Without a camera to pick up all the sets and actors and then lights to make them all look better. Our goal is to purchase pre-owned, professional gear for the first episodes. This ends the costly rental loop and removes a future obstacle. Plus, it allows better flexibility in scheduling.
Jobs included
Cinematographer — This person helps establish the visual style for the series and helps in identifying the necessary gear for filming. They guide the camera and lighting sub-departments across all episodes.
Gaffer — Leads the lighting/electric team over episodes.
Camera Crew — We’ve budget at least three, full-time crew members, including a Camera Operator, (1st) Assistant Camera and DIT, each with specialized roles in the department
Lighting Crew — Similarly, we’ve included at least three, full-time crew members, including a Grip, ELT, and Utility person with specialized roles in their department.
EDITING
— Here we include not just the editing, which is piecing all the footage from filming into its best storytelling shape, but we also include coloring and the general suite of visual elements fine-tuned in this final stage. There’s also an allotment for minor VFX work in two of the episodes.
Jobs included
Chief Editor — This person is the primary editor of footage and helps guide the overall, visual post-production process by mapping the project needs, sourcing gear/software, and tracking progress across episodes.
Lead Colorist — Primary colorist over all episodes (adjusts the colors, contrast, etc. on screen, in post).
Editing Crew — Includes at least one, full-time 2nd editor and an additional colorist or effects artist, as needed.
SOUND
— Catching and creating feelings. Here we include two audio elements: first, the recording of sounds and dialogue during production, and second, editing and mixing those sounds, plus creating new ones during post-production. Our goal is, again, to try to purchase sound gear upfront, to cut the rental loop.
Jobs included
Sound Director — This person maps out the overall sound needs for the project and then sources the necessary gear and helps hire the right people. They also work as the Sound Designer in post and may also help record during filming.
Production Sound Mixer — The primary sound recorder during filming.
Recording Crew — Includes a full-time Boom Operator (main assistant) and room for extra crew during larger sequences.
Mixing Crew — Includes a full-time Sound Editor and room for Foley Artist, who enhances or creates sounds, as needed.
MUSIC
— Aka the vibes department. Includes both the instrumental scores for the series and also the songs or soundtrack for the episodes. We want to create a base “theme” sound from which the musical scores build. Also, we’ve budgeted a small “music fund” for use of songs (likely by lesser-known artists).
Jobs included
Music Director — This person creates the theme sound and leads the score on episodes. They also scout and work with musical artists for songs on the episodes. … (This may ultimately be two, separate roles: one for score, one for songs).
Music Crew — A 2nd composer for episodes and room for additional, contracted musical work, as needed.
THE FIELD DEPTS.
Introduction to “FIELD.”
— The following departments ensure the Story/Craft teams have the resources and care needed to make the series. It’s so important to invest here for a better, final product which comes from a better production experience for the teams.
PRODUCTION
— The engine room, Part 1. Here we primarily cover safety, budget and footprint. There’s an allotment for filming permits, insurances, and production supplies and vehicles (2). We’ve also considered larger, “off-site” sequences (away from the main sets) which may require a security or medical presence.
Jobs included
Production Chief — This is the sheriff on the ground. They ensure permits, etc. are secured and completed, and they monitor safety protocols and the production’s footprint. They also help onboard crew members and keep spending in check.
Production Crew — At least one, full-time assistant and room for extras hands during larger sequences.
LOGISTICS
— The engine room, Part 2. Here we cover scheduling, setup and communication. Damn near everyday of production can bring an obstacle, or a “switch up.” So, it’s important to have people dedicated to timing and to (persistently) getting everything and everyone ready or on the same page.
Jobs included
Field Director — This person crafts the master schedule, then enforces it. They stay on top of departments and sets, ensuring all are ready to go. (They’re often called Assistant Director but I don’t like the word “assistant” for such a leading role).
Crew Captain — Leads the set up/storage of gear/props.
Logistics Crew — One, full-time assistant and an allotment for utility crew on days with a lot of setup.
RECEPTION
— Planning and hosting a (professional) party. Any way you spin it, people are going to have to travel for Bound. We’ll try to keep supporting crew local to mitigate cost, but the casting net has no boundary and department heads will likely be scattered, too. So, flights and housing are budgeted for them.
Jobs included
Production Coordinator — This person leads in organizing the flights and housing for all team members. They also help in arranging transportation needs during filming, as well as monitor and support any other travel needs on the ground.
Lead Driver — For “off-site” filming or larger sequences with lots of moving parts. Plus, airport or station runs, as needed.
Reception Crew — One, full-time assistant.
CATERING
— Yes, a department just for food (plus a little more). For Bound, a number of people may be working abroad for upwards of three months. So, we’ve budgeted grocery stipends and funds for prepared, group meals on longer filming days. This also covers snacks and care items on sets, across all episodes.
Jobs included
Catering Director — This person maps the food plan for all team members over the eight episodes (plus some prep days). They keep up inventory and prepare meals, as needed, during filming. (Or, they work with local establishments on catering).
Catering Crew — A dedicated assistant for food prep.
the pitch depts.
Introduction to “PITCH.”
— Since we’re independent, we’ve got to consider not just the series and episodes, but also the ecosystem in which a series can exist. So, the following elements, which are often done by a third party or a network, are included in-house.
STRIPES
— Show and tell ‘em. Images add up fast, from foundational works like a logo or themed art for a season, to continually updating work, like art specific to episodes or for marketing material or site features. So, we’ve considered funds for all artwork and its placement (advertisement).
Jobs included
Art Director — This person leads on creating art for all the different initiatives that come with a project: series art, episode art, campaigns, written features and merchandise. They oversee timelines and delegated work, if contracted.
Artist/Designer — Allotment for contract work, as needed.
SOCIAL
— If you don’t know, you don’t know. We’ve included funds to produce profiles, behind-the-scenes documentation, fun videos and other outreach to help spread the word on the series and the people within it. Because, you know, what’s the point of making a series and not telling as many people as possible?
Jobs included
Social Director — This person maps the outreach plan for the distribution of episodes and for the project at large. They produce profiles, photo and video for the platform and manage any social media accounts.
Videographer — Leads filming/photography for promo material.
PUBLISHING
— A forest for the tree (Bound). This includes funds to build and operate a lean and mean, customized website for the series and other materials. It will be a space for engagement with the series through writing, photo and video and also a streaming home for episodes.
Jobs included
Publishing Director — This person leads in the overall development and maintenance of the platform. They oversee initiatives like feature writing and video and customs for the site. They’ll also help prep episodes for streaming.
Translator — To start, we want to deliver subtitled episodes in four languages, in addition to English. These translations will be done with real people (and not AI) and we’ll need someone to act as liaison to the different translators.
VENTURES
— You can’t be who you are until you’re somebody else - with the money - first. Being independent means holding the responsibility for finding fun and creative ways to help sustain the series (in addition to sponsors, etc). We’ve included funds to start up an online parlor for a few, merch items and events.
Jobs included
TBD — If possible, we may cover someone dedicated to shepherding merch items from conception to production. It’s a stretch position, though, meaning it’s only covered if there’s room after all production expenses.
TBD — If we’re able to expand this department, we’ll also consider someone to help maintain the site/shop.
the SERIES board
Introduction to “BOARD.”
— These are the producers with leadership over a coalition of departments. They take charge of larger ideas and strategies for the series and then support the people and departments tasked with fulfilling those ideas.
Jobs included
Producer-at-Large | Evan Sandoval
— Focuses on the series story and stripes. Researches and consults on character and storylines. Helps establish design and visual templates. Also, writes and directs episodes.
Executive Producer
— Keeps the series going. Helps with fundraising by consulting on ideas for the website and promotional material. Plans fun and efficient outreach methods. Helps set up distribution.
Managing Producer
— Takes care of the series. Ensures proper accounting and registrations and helps build up the fiscal and personnel structures. Helps scout and hire production department heads.
Creative Producer
— Sets the stage for the series. Helps finalize the filming location and the sets and secondary locations within it. Helps scout and hire creative department heads and source gear.
NOTE — In the end, Bound will hope to create about 60 jobs. The main cast and department heads will spread across cities/countries and the supporting crew members will be local to the selected filming location. The team will start from complete scratch — the MO is to mirror the series storyline and to bring together individuals without prior history who will take time, over the course of the year, to build up connections and knowledge before production. *
THE PRODUCTION DEPARTMENTS