INTRODUCTION

— Below, please find a general breakdown of the series’ production departments and thus its budget and funding goal. Each section summarizes goals for different departments and lists potential crew members and line items needed to make Bound. The page is compiled with a full-season outlook and with a $250k, per episode, scale.

FAQ

  • — The decision to try to make more from at the start is determined by both the story and the team. For story, more episodes allows us to better set up the structures of the larger story and to flesh out the variety of tones, notes and characters.

    For the team, more episodes or even a full season simply means more security and opportunity, with greater and more consistent work to be done. Plus, it offers more chances to create and feature skills. So, we’ll go for that.

    To be clear, I know how steep (like, steep) of a climb the funding goal is. Because of that, I’m also aware of the fact that we may only get to make one episode, if any at all. To start, though, we’ll go for more, knowing we can always scale back.

  • — The defined scale is both meticulously planned and also a bit abstract. We played out dozens of scenarios in filming the episodes at numerous, different levels, from super indie to a “real” streaming or network level. Since we’re independently fundraising, the highest levels are probably too much to pursue, but after careful consideration, a scale of $250,000 per episode, after taxes, felt like a more responsible (though still very ambitious) goal.

    For context, the standard budget of a basic streaming or network series can be $2-3 million per episode. Though our scale is much smaller, we’ve got ideas on how to make something that still feels elevated and that can have enough resources now to spur growth into a larger scale production later. The sections below will detail how the funds may be dispersed.

    Finally, just like with the number of episodes, it’s also understood the scale may ultimately have to be much lower, with only the most basic filmmaking resources. To start, though, we’ll work for a scale that includes design and production resources, as well as funds to promote and distribute the series.

the storY DEpts.

WRITING

SCRIPTS + CONTINUITY

— 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

COMPOSITION + CASTING

— The series would feature four directors, who’d each direct a block of episodes. We’d also like to fund a dedicated casting director for the large cast and guest roles. For Bound, we’re looking for fresh faces across the board and would also allot resources for the cast’s development, with funds for adequate study and rehearsal time.

SETTINGS

DESIGN + CONSTRUCTION

— 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

COSTUME + 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 crew members.

  • Story Director/Editor

  • Episode Writer (4)

  • Scripty/Script Supervisor

  • Episode Director (4)

  • Casting Director

  • Main Cast (8)

  • Support Cast (4-8)

  • Featured Guests

  • Production Designer

  • Lead Artisan (Manager)

  • Set Decorator

  • Props Master/Wrangler

  • Key Scenic

  • Costume Designer

  • Lead Hair & Makeup

  • Makeup Artist

  • Hair Stylist

  • Stylist / Tailor

Potential line items.

  • Writing (on location)

  • In-person auditions

  • Hotel set build/rental

  • Diner set build/rental

  • Secondary sets build

  • Decor pieces

  • Prop pieces

  • Wardrobe pieces

  • Character props

  • Makeup inventory

NOTE

— The listed crew are potential, “full-time” team members over the course of a season. There would also be partners (contractors) and day players who help during larger or more complex sequences. In fact, 50-60% of the total budget would go to salary and care for crew.

the style Depts.

PHOTOGRAPHY

CAMERA + LIGHTING

— 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

ASSEMBLY + 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

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.

MUSIC

SCORE + SONGS

— In building the music team, we’ll look for crew member(s) who can both compose score and potentially facilitate music 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 crew members.

  • Cinematographer (2)

  • Gaffer (2)

  • Camera Operator

  • Key Grip

  • 1st AC

  • DIT

  • ELT

  • General Operator

  • Chief Editor

  • Lead Colorist

  • Editor

  • Colorist

  • Editing Asst. (2)

  • Sound Director/Designer

  • Sound Recorder (2)

  • Boom Operator (2)

  • Sound Editor

  • Foley Artist

  • Sound Asst.

  • Music Director

  • 2nd Composer

Potential line items.

  • Camera (2)

  • Camera accessories

  • Rigs

  • Primary lighting

  • Power/electrical

  • Storage

  • Post software

  • VFX work

  • Recording gear

  • Post software

  • Songs (licensed)

THE scope depts.

STAGING

LOCATION + (PRACTICAL) EFFECTS

— 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

SCHEDULE + MOVEMENT

— This is where the master and block schedules get made and where inventory is handled. 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 an obstacle, or a “switch up,” so it’s really important to fund proper coverage here.

MANAGEMENT

ACCOUNTING + COMPLIANCE

— 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

TRAVEL + CARE

— 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 crew members.

  • Chief Coordinator/Producer

  • Deputy Coordinator

  • Effects Coordinator

  • Background Coordinator

  • Field Director (AD) (2)

  • Lead Driver

  • Driver/Loader (3)

  • Production Chief/Producer

  • Set Marshal

  • Accountant

  • Office Asst.

  • Service Director

  • Chef / Caterer

  • Asst. Chef / Crafty

  • Set Attendant

Potential line items.

  • Location permits/rentals

  • Location set ups/retrofits

  • Background extras

  • Stunt work

  • Team software

  • Base camp/office space

  • Work vehicles/vans

  • Ground transportation

  • Taxes *

  • Payroll structures

  • Filming insurance(s)

  • Security personnel

  • Medical personnel/supplies

  • Flights

  • Housing (Cast, Dept. Heads)

  • Food/Stipends

  • Misc. (household) supplies

* You know it! A large portion of the budget and funding goal will go to taxes. We’ll try to work for municipal partnerships to ease the amount, but of course it has to be listed into the goal.

the scale depts.

PLATFORM

STREAMING + ENGAGEMENT

— 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 website which can be used for streaming, plus other engagement with the series.

MARKET

SPONSORS + VENTURES

— In a future, larger scale this would involve cultivating sponsors or other, financial partnerships for the series, but for now, it’s finding creative ways to sustain and deliver the series financially, like with campaigns, select merchandise and features or add-ons. Funds will help develop such campaigns and items or ventures.

BRANDING

ART + ADVERTISMENT

— 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

MEDIA + EVENTS

— 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 crew members.

  • Platform Director/Developer

  • Translations Coordinator

  • Producer

  • Modeler/Developer

  • Features Coordinator

  • Art Director

  • Artist (2)

  • Animator

  • Social Director

  • Videographer/Photographer

  • Copy Editor/Writer

Potential line items.

  • Custom website

  • Site features

  • Translations

  • Manufacturing partners

  • Contest (trip) rewards

  • Digital + print advertising

  • Art installations

  • Screenings

  • Bookings/partnerships

The truth is, the first real attempt at making Bound was actually in 2020, as soon as COVID hit. I still kept at it for a while before finally letting go. Looking back, I can see that the project wasn’t ready anyway, and if something were made back then it would have been much lesser. Now, years later, after more life lessons and industry digestion, it’s all more built (to try) to last. *