INTRODUCTION

— There are so many things that go into making a series or movie that get so little attention. Please use this page as a guide to the people and pieces that could come together to make Bound. The page can also act as a general breakdown of the funding goal. Each section has summaries of the project’s objectives, plus listings of the jobs involved. It’s those cumulative jobs, or team members, that is (rightfully) the greatest expense of the project.

the storY departments

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 also 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 could 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.

(Department Heads)

STORY DIRECTOR

— The head writer. Organizes and tracks writing initiatives and reviews and edits all scripts. Plus, writes.

SENIOR DIRECTOR (EP)

— Directs the first episodes (Set A) and leads on casting the ensembles, plus helps with their development.

PRODUCTION DESIGNER

— Establishes the overall aesthetic. Oversees design (and build) of main sets and secondary locations.

COSTUME DESIGNER

— Establishes the distinct “look” for all characters. Sources wardrobe and maps styling over the episodes.

(Potential Crew)

  • Episode Writers

  • Scripty/Script Supervisor

  • Episode Director

  • Casting Associate

  • Storyboard Artist

  • Lead Artisan (Project Manager)

  • Set Decorator

  • Props Master/Wrangler

  • General Contractors —>

  • Lead Hair & Makeup

  • Makeup Artist

  • Hair Stylist

  • Stylist / Tailor

the style departments

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 assembling 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.

(Department Heads)

PHOTOGRAPHY DIRECTOR

— Establishes and guides the visual template. Maps gear and rigging needs and helps build up inventory.

CHIEF EDITOR

— Edits episodes and helps organize and track visual, post-production initiatives like graphics or VFX.

SOUND DIRECTOR

— Maps the total sound needs and builds up the team and inventory. Acts as Sound Designer in post.

MUSIC DIRECTOR

— Creates the series theme sound and scores on episodes. May catalog music and work on select songs.

(Potential Crew)

  • Gaffer

  • Camera Operator

  • Key Grip

  • 1st AC

  • DIT

  • ELT

  • Utility / 2nd DP

  • Lead Colorist

  • Editor

  • Colorist

  • VFX Artist(s) —>

  • Sound Recorder

  • Boom Operator(s)

  • Sound Editor

  • Foley Artist

  • Utility (Recording & Mixing)

  • Composer

  • Musician(s) —>

THE scope DEPartmenTS

STAGING

— Staging includes a fluid coalition of services 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.

(Department Heads)

CHIEF COORDINATOR (AP)

— An architect. Helps secure the filming location, then leads build of resources and partnerships within it.

FIELD DIRECTOR

— A conductor. Crafts the schedule, then organizes the communication and transportation structures.

PRODUCTION CHIEF (AP)

— A sheriff. Oversees budgets; sets policies and addresses issues; maps production for safety and effect.

SERVICE DIRECTOR

— A caretaker. Organizes travel and housing for all team members. Plans for food and individuals’ needs.

(Potential Crew)

  • Location Manager (Deputy Co.)

  • Extras Coordinator

  • PA(s)

  • Crew Captain (Manager)

  • Driver(s)

  • Loader(s)

  • PA(s)

  • Set Marshal

  • PA(s)

  • Security —>

  • Medic —>

  • Production Chef / Caterer

  • Sous / Crafty

  • PA(s)

the scale departments

PLATFORM

— For an independent production, it’s important to consider the totality of a series. Not just the episode production but also the ecosystem in which those episodes can play. So, we’ve included funds to build a lean and mean, custom site which could be used for (early) streaming, plus funds to develop features for that platform.

MARKET(PLACE)

— A production on its own means holding the responsibility for finding creative, secondary ways to help sustain the series financially (in addition to the primary ways like sponsors or distribution). So, we considered funds to build a small, online parlor/shop for things like: art auctions, prints and select merchandise. Plus, a contest or two.

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.

(Department Heads)

MANAGING DIRECTOR (EP)

— Oversees build of the platform plus features and maps distribution. In the future, cultivates sponsors.

MARKET/PRODUCT CHIEF

— Designs and develops products or ventures for the series’ shop. Leads projects through demo/delivery.

BRAND DIRECTOR

— Establishes the concepts + art for series and promotional campaigns. Tracks placement or installation.

SOCIAL DIRECTOR

— Oversees production of video, photography and stories/profiles. Organizes bookings or events.

(Potential Crew)

  • Account Officer

  • Translations Rep

  • Site Developer —>

  • Designer

  • Product Manager —>

  • Artist(s)

  • Copy Editor

  • Videographer/Photographer

  • Blog Writer / PA

In the optimistic end, Bound would create about 65 jobs, including the cast ensembles, and most of those jobs would be “full-time” over the episodes. Support crew would be local to the filming location but the main cast and department heads would be spread out over cities or countries, before traveling to location. — It’ll be an adventure, like the story itself. *