Unit production manager
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In the
Responsibility to a senior producer
A UPM is usually hired by a
The UPM frequently does not have any direct responsibilities with the creative direction of the film's narrative, although in some cases they will and can be consulted. Many budget decisions affect the creative direction of the project. They are to support the director's artistic vision on a daily physical production level.
Before principal photography begins both the producer and UPM work to secure as many of the production elements as possible, including a workable schedule and budget. Usually from a production office during pre-production, they may later divide their time between the office and the set while the film is being shot. An on-set trailer may also be used as a makeshift production office. Like nearly all members of a film crew, UPMs will typically remain on the shoot until the end of principal photography and can return if there are any reshoots. It is not atypical for a UPM to work 80-100 (or more) hours per week while a film is in production.
In the
Highly experienced UPMs bring great value to a project for their strategic and creative problem-solving skills. These individuals will positively affect the film's budget as well as the final outcome and quality of the film on multiple levels.
Duties
The UPM, under the supervision of the employer, is required to coordinate, facilitate and oversee the preparation of the production unit or units (to the extent herein provided) assigned to him or her, all off-set logistics, day-to-day production decisions, locations, budget schedules and personnel. Without limitation, among the duties which the Employer must assign to the UPM or First Assistant are the supervision of or participation in the following:[2]
- Prepare breakdown and preliminary shooting schedule.
- Prepare or coordinate the budget.
- Oversee preliminary search and survey of all locations and the completion of business arrangements for the same.
- Assist in the preparation of the production to ensure continuing efficiency.
- Supervise completion of the Production Report for each day's work, showing work covered and the status of the production, and arrange for the distribution of that report in line with the company's requirement.
- Coordinate arrangements for the transportation and housing of cast, crew and staff.
- Oversee the securing of releases and negotiate for locations and personnel.
- Maintain a liaison with local authorities regarding locations and the operation of the company.
- Setup the production office and systems in coordination with the Production Office Coordinator.
- Work with various unions (DGA, SAG, WGA, IATSE and TEAMSTERS) to submit and finalize contracts.
- Handle ATL (Above the Line) issues e.g. cast person wanting a larger trailer.
- Work with Accounting team to make sure that the film is set up in a way that is eligible for tax credits or rebates (if in a certain state/region that allows this).
References
- ^ "1-302". DGA 2011 Basic Agreement. Los Angeles, California: Directors Guild of America. 2011. p. 13.
- ^ DGA 2011 Basic Agreement. Los Angeles, California: Directors Guild of America. 2011. pp. 13–15.