TABLE OF CONTENTS
A. Story Departments
B. Craft Departments
C. Field Departments
D. Pitch Departments
INTRODUCTION
— There are so many things that go into making a series or movie that get so little attention. Please use the “Production” page as a guide to all the elements that would come together to make Bound as it’s planned today. The page can also act as a general breakdown of the funding goal as each section has a summary of a department’s objectives, plus listings of the needed jobs to fill. It’s the cumulative jobs, or team members, that is the greatest expense of the project - rightfully so.
the story depts.
WRITING
— The frontier of the whole, damn thing. It includes more than just the script; it also includes much research and discussion before writing and careful breakdowns of the scripts afterward for the rest of the departments. For Bound, we’d like to fund up to four writers to work on the eight episodes and to start an outline on future ideas.
WRITING TEAM
Story Editor — Leads all script writing initiatives.
Episode Writers — Write episodes 5-8 and consult on future story.
PERFORMANCE
— The root of the story. All of the writing and much of the filmmaking is built around the characters, and thus, around the actors. We’re looking for fresh faces across the board and hope for resources in assembling the large, main and supporting casts, plus resources for their continued development, to give the best performances they can.
PERFORMANCE TEAM
Casting Associate — Organizes cast development/rehearsals.
EDITING
— More than just deciding the sequence of events, editing also informs the story’s pace and showcases its moments. In addition to assembling the pieces, we’ll also include here color correction and the suite of visual elements fine-tuned in post-production. For Bound, we’d begin editing while filming to finish the series in a timely manner.
EDITING TEAM
Chief Editor — Leads editing/post-production initiatives.
Lead Colorist — Primary colorist over all episodes.
Company Crew — 2nd editor and color/effects artist.
MUSIC
— Nothing marks the story’s tone like the music does. We include both the instrumental score for the series and also any songs for the episodes. We want to create a base “theme” sound (dictated by the setting’s cultural qualities) from which the scores build. We’ve also considered a small fund for use of songs that can push the narrative.
MUSIC TEAM
Music Director — Lead composer over episodes.
Company Crew — 2nd composer; musicians, as needed.
+ DIRECTION
— The department, and the people within it, would have a hand in all the other departments above. For Bound, we’ll likely earmark directors to work in sets of four episodes (to match how they’re written). In addition to creative choices, directors in a series will need to monitor story coverage and tone continuity in filming and in post.
DIRECTION TEAM
Senior Director — Supervises overall story/style; directs or scouts.
Episode Director — Takes charge of individual episodes.
the craft depts.
SETTINGS
— Creating the world for everyone to work in, from construction to decoration. Our preferred goal is to find space to custom-build two, small, main sets (a hotel lobby and a cafe). Another option is to rent out existing locations that can be used for the story. Funds cover the set build and/or property rental, plus design pieces and props.
SETTINGS TEAM
Production Designer — Leads all design and construction initiatives.
Lead Artisan — Builder, designer, wrangler.
Company Crew — Local contractors, decorators.
CHARACTER
— Creating total “looks” for the characters, from wardrobe to makeup and hairstyling, to select props. Over the course of eight episodes, there will be dozens of looks for all main and supporting characters, each with their own distinct style. We’ve considered an allotment, per character, for wardrobe pieces and sufficient funds for hmu/styling.
CHARACTER TEAM
Costume Designer — Leads in crafting total looks for all characters.
Lead Makeup Artist — Primary artist over all episodes.
Lead Hair Stylist — Primary stylist over all episodes.
Company Crew — Auxiliary help, as needed.
PHOTOGRAPHY
— What the hell you gonna look at? Without a camera to pick up all the sets and actors and without lights to make them look better. Our goal is to purchase pre-owned, professional gear upfront - like a camera kit, rigs and maybe lens(s). This prevents the costly rental loop and it allows better flexibility in scheduling and filming.
PHOTOGRAPHY TEAM
Cinematographer — Leads all camera and lighting initiatives.
Gaffer — Organizes the lighting and electric needs.
Key Grip — Organizes rigging and lighting needs.
Camera Operator — Your eyes out there.
Company Crew — 1st Assistant Camera, DIT, ELT, Utility/BP.
SOUND
— Catching (and creating) feelings. Here we include two audio elements: 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 purchase some sound gear upfront, to customize to production and to cut the rental loop.
SOUND TEAM
Sound Designer — Leads all sound initiatives (pre through post).
Production Sound Mixer — Primary sound recorder on episodes.
Company Crew — Boom Op, Sound Editor, Location Sound, Foley
+ STAGING
— First, this department sets up the departments above, through hiring and sourcing, and then supports them in any way through production. Staging also includes scouting and securing locations and then prepping them for filming. It also includes sourcing background extras and a grab-bag of special or specific production needs.
STAGING TEAM
Creative Producer — Supervises all staging / craft dept. needs.
Deputy Producer — Supports CP; leads on specific projects.
THE FIELD DEPTS.
COMPLIANCE
— One side of the production engine. The department would primarily focus on permissions, safety and footprint. Here, we’ve budgeted for permits, insurances, and production supplies and vehicles. We’ve also considered larger or more complex sequences in the scripts which may require the addition of security or medical personnel.
COMPLIANCE TEAM
Production Chief — Leads on all planning and protocols.
Company Crew — Marshal; auxiliary support, as needed.
LOGISTICS
— The other side of the production engine. This department would focus on scheduling, setup and communication. Damn near everyday of a production can bring an obstacle or a “switch up.” So, it’s really important to have people dedicated to timing and to persistently ensuring that everything and everybody is ready or on the same page.
LOGISTICS TEAM
Field Director — (or, AD) Leads on all scheduling and setup.
Crew Captain — Organizes the transfer and storage of gear or props.
Company Crew — Utility crew, as needed.
TRAVEL
— Movement, internationally and locally. 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. This also considers ground transportation needs during filming.
TRAVEL TEAM
Production Coordinator — Leads travel and transportation planning.
Lead Driver — Helps with ground transportation.
Company Crew — Auxiliary drivers or assistants.
SERVICE
— Food(!) and a little bit of care. For Bound, upwards of 30 people might be working long hours abroad, for anywhere from two to four months, depending on the role. So, we’ve considered grocery stipends and funds for prepared, group meals. This also covers an inventory of snacks and care items on filming sets, across all eight episodes.
SERVICE TEAM
Service Director — Leads food and care planning for team members.
Caterer / Chef — Organizes select, group meals.
Company Crew — Auxiliary caterers or assistants.
+ MANAGING
— The department would cover personnel and resources. It would ensure proper accounting for the series and allot and track spending on episodes. The payroll and resource structures would be built here. Additionally, research on grants or credits and municipal partnerships would be fostered. Finally, the department supports the others above.
MANAGING TEAM
Managing Producer — Leads on budget and personnel programming.
the pitch depts.
ART
— Show and tell. Any piece of copy, art or other visual for Bound will come from here. All those pieces add up fast, from foundational works like themed art for the series or a season, to continually updating work, like art specific to episodes, or for marketing material or the website. So, we’ve considered funds for all art and copy.
ART TEAM
Art Director — Leads all art and copy initiatives; maybe site design.
Company Crew — Graphic Designer; contracted ux designer.
MEDIA
— If you don’t know, you don’t know. We’ve considered funds to produce material like profiles, behind-the-scenes documentation, short (and fun!) videos plus more to help spread the word on the series and the people within it. Because, you know, what would be the point of doing all this and not telling as many people as you can?
MEDIA TEAM
Social Director — Leads production of social material; photographer.
Company Crew — Videographer; “craft” team members from above.
FEATURES
— This department and the next are “stretch” goals, meaning they’ll be the last thing to be funded and only if all production needs are met. The intention here is to consider and build ways for engagement with the series’ platform and then the episodes through site features and, potentially, events.
FEATURES TEAM
TBD — Would lead on planning and building out features.
MARKET
— Being a wholly independent production means holding the responsibility for finding creative, secondary ways to help sustain the series (in addition to the big-ticket items like sponsors, etc). We’ve considered ideas to design an online shop for things like: art auctions, prints and select merchandise (if done feasibly and responsibly).
MARKET TEAM
TBD — Would lead items from development to delivery.
+ OUTREACH
— On a non-independent series, the departments above would likely be handled by a parent network, apart from the series. But for Bound, we’ll address them as items within the series production, because ultimately, the marketing and commercial elements above can dictate the engagement with - and thus sustainability of - the series.
OUTREACH TEAM
Associate Producer — Leads on marketing and ventures strategy.
NOTE — In the end, So Far Bound will hope to create about 60 jobs, including the cast ensembles. About two-thirds of those jobs would be “full-time” over the eight episodes. The main cast and department heads will likely be spread out over countries/cities and the support crew should be local to the selected, filming location. Finally, all things above are planned with the intention to make Bound at a certain standard. Those plans can pull back, or push further, but the plan to do our best at something - anything - stays put. *