Rami Rank is a leading and sought-after producer with credits on shows including Amazon's GOLIATH, Showtime’s DEXTER, SWINGTOWN on CBS, HELP ME and HELP YOU on ABC, as well as features such as the remake of APRIL FOOL'S DAY. Beginning his career working on indie features as a Production Coordinator, Production Manager and Line Producer, Rami later joined Universal Studios where in addition to helping manage the Backlot and Stage Operations he also ran UVS-1, Universal’s Virtual Production business. Since then, he returned to production and continues to put together high profile films and series. Through his storied career, Rami has become intimately familiar with the inner workings of Movie Magic Budgeting and set to share what he knows exclusively with the Stage 32 community. Full Bio »
Any producer can tell you just how much goes into creating a budget for a film. Layer after layer, projection after projection, contingency after contingency, it’s always an incredibly difficult, incredibly fragile, and incredibly intricate document that take an immense amount of work and care to put together. And with so many elements involved, it’s just too big and specialized for a program like Excel to handle. There is a reason why nearly every studio, producer, accountant and unit production manager utilizes Movie Magic Budgeting to write budgets.
If you are in the position where you have been asked to create a budget, Movie Magic is absolutely essential. It is the easiest and cleanest budgeting program and can handle anything from shorts to multi-cam and single camera series to full features. It is both simple and deeply complex as you start getting into the minutiae of everything it can do. Yet a solid understanding of how to operate Movie Magic is a powerful tool in the arsenal of those looking to move up into management on either the show or studio level and might be a requirement for those looking to find success in their producing career.
Rami Rank is a leading and sought-after producer with credits on shows including Amazon's GOLIATH, Showtime’s DEXTER, SWINGTOWN on CBS, HELP ME and HELP YOU on ABC, as well as features such as the remake of APRIL FOOL'S DAY. Beginning his career working on indie features as a Production Coordinator, Production Manager and Line Producer, Rami later joined Universal Studios where in addition to helping manage the Backlot and Stage Operations he also ran UVS-1, Universal’s Virtual Production business. Since then, he returned to production and continues to put together high profile films and series. Through his storied career, Rami has become intimately familiar with the inner workings of Movie Magic Budgeting and set to share what he knows exclusively with the Stage 32 community.
Rami will give a full walkthrough of how to successfully use the Movie Magic Budgeting (MMB) software to put together a budget for your own film or series. He will begin by giving an overview of what the budget will look like on MMB, including the top sheet, the accounts, details, helpful shortcut keys, and understanding what amt, units, x, cur, and rate mean. Next he will talk you through how to set up a budget from scratch, including how to choose the right template, input budget info, and set up your header and footer. Rami will teach you how to set up and use different units and will then delve into globals, explaining what they are and how to create them. He’ll to through global groups, applying globals and changing globals. Then he will discuss fringes, explaining what they are in the context of MMB, and go over percentage fringes, flat rate fringes, applying and removing fringes, and setting the fringe account. He will also explain how groups work on MMB, why they are important, how to create them yourself, and how to turn them on and off. Next Rami will explain how to use the currency function and how to set up and build contractual fees. Finally Rami will break down additional basic functions of MMB including pagination, recalculation, and printing and PDF conversion. Movie Magic Budgeting can be an intimidating software, but Rami will give you an accessible and actionable walkthrough so you can have the tools and confidence to build your own budget with it.
Rami will be operating from Movie Magic's Version 7.7, the Legacy version of its budgeting software, which is also the version that most professional producers currently use.
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As a television maker, one of the most difficult aspects of your job is creating and managing the budget for your project. Budgeting a feature or a short can be complicated enough, but at least you have all of the information at your fingertips. You have a script, schedule, rates—all of these things are at your disposal. However what happens when you need to budget a TV show? You don’t have all the scripts, there’s seemingly no way to create a schedule and, on the surface, no way to generate a budget. And once that budget is established, how do you handle decision making and cost tracking over a many, many months long process? These seemingly unsolved issues do have answers, and ones that may be simpler than you think. Successfully producing a TV show to get on screen requires that you understand not just how to build a TV budget, but also how to operate it. Knowing the ins and outs of Movie Magic and the various tools within as it relates to television is key. It’s very easy to get overwhelmed and drown in the details of creating and managing the budget of a series. Through thorough research of the software, what it does and how it affects your project, you will be able to create TV budgets with ease. Presenting a solid TV budget will help you gain the confidence of those who can ultimately invite you into the inner circle of TV producing and allow you to advance your career to new heights. Rami Rank is a producer with credits on shows including Amazon's GOLIATH, DEXTER for Showtime, SWINGTOWN for CBS, HELP ME and HELP YOU for ABC, as well as features such as the remake of APRIL FOOL'S DAY. Rami began his career working on indie features as a Production Coordinator, Production Manager and Line Producer. After joining the union and coordinating the third season of DEXTER, Rami joined Universal Studios where in addition to helping manage the Backlot and Stage Operations he also ran UVS-1, Universal’s Virtual Production business until 2013, when he came back to production. Through his storied career, Rami has produced and budgeted for all types of television shows, including some of the biggest ones out there. He knows intimately what goes into the vital aspect of creating a budget for these projects and is ready to share all he’s learned exclusively with the Stage 32 community. In this 3-session class, Rami will offer detailed, practical, and exhaustive guide to creating and managing a successful TV budget. In session one he will review the basic starting point of a TV budget: where the information comes from and how to utilize it. He will review some basic concepts like Budgeting and Scheduling Software, Rate Guides and the two types of budgets you’ll be creating – Patterns and Amorts. Session 2 will be a deep dive into the Amort budget. Students will receive a copy of an Amort budget to use as reference as we walk through all of the departments, positions and costs to consider in preparing the Amort. In the final session you will receive copies of a pattern budget to use as reference as he teaches how this budget is transformed into an episodic budget and then tracked using hot costs and cost reports. You will leave these three classes with the knowledge base and confidence to tackle any TV budget. WHAT TO EXPECT This class is designed for beginner and intermediate students looking to learn the ins and outs of creating a budget for a television show. This is an in-depth, practical, and detailed class with significantly more than a standard 90-minute webinar. You will be given guides and walk throughs of software and procedures and will receive handouts and resources that will accompany the lessons and that you will be able to hold onto after the class ends. This class will consist of three sessions, each roughly 90 minutes in duration and spaced one week apart from one another. In addition to the lessons where Rami will be sharing his screen and walking you through section by section of television budgeting software, you will have the opportunity to ask Rami questions during each session. Plus, to stay motivated and inspired, you will have access to a private, dedicated Stage 32 Lounge where you can communicate with your fellow classmates throughout the budgeting process. To see the full budgeting class schedule, see below under "What You Will Learn". "As a long time producer, I know how important a solid budget is for any television show, and I know just how challenging it is to create one successfully—much harder than for features and shorts. I’m excited to empower producers and creatives in the Stage 32 community to do the same. Get ready to learn more about TV budgets than you ever have before!" -Rami Rank
Learn directly from Tatiana Kelly who has produced 12 independent films including Wristcutters: A Love Story and The Words (Bradley Cooper and Zoe Saldana), and The Procession. The barrier of entry for the micro-budget / DIY / indie filmmaker has never been lower, making the landscape of independent film more exciting than ever. With box office and VOD sales at an all time high and more distribution opportunities than ever, independent films are enjoying a resurgence. Throw into the mix that many studios and larger production companies are committed to producing numerous micro-budget films each year (see Paramount Insurge) and independent producers such as Jason Blum (Blumhouse) have made a living in the space, and the demand for films with micro-budgets has never been higher. Additionally, many creatives are taking matters into their own hands by making micro-budget films as a calling card for their talents. Some examples of micro-budget films include Napoleon Dynamite, Halloween, Clerks, The Blair Witch Project, Mad Max, Eraserhead, Open Water, Catfish, Saw, Once, Pi. Story and style win the day as a result of the passion and dedication put into micro-budget films. If you are a screenwriter, producer, filmmaker or any other creative that values control of your story and film and has decided to write, develop, shoot or distribute a film in the micro-budget space, this is the webinar for you.
So you want to shoot a micro-budget film. You've got your idea. You're excited as hell. You can't wait to get going. There's just one problem. You have little to no money, need to shoot this film on the cheap, and you can't do it without an experienced crew. So how can you get quality, talented people to work for you for little to no money? It happens every day. If you know how to navigate. The old saying goes, a filmmaker is only as good as his or her crew. Making sure that everything is buttoned up on set, from your script supervisor to your sound engineer to your DP and gaffer, the more quality you throw at your film in pre-production and during production, the less headaches and "let's try to fix it in post" problems (which are also painfully expensive) you'll face in post-production. The thing is, regardless of your budget, and in this case we're talking ultra low to $250,000, you can find passionate, creative, and qualified people to work for you well below their normal rate. Barry Andersson is an award-winning director and cinematographer. He has directed 5 feature films (time and time again with some of the best crews imaginable) and has had his features theatrically released in theaters with his latest film distributed by Lionsgate. Barry's has also shot several television pilots, acclaimed short films, numerous commercials, and countless commercials and corporate videos. As if that wasn't enough, Barry is also the author of the hugely successful and revered DSLR Filmmakers Handbook. Barry will teach you how to secure top level, Hollywood quality, crew members for cheap no matter where you live in the world. He will instill in you the confidence to identify and then go in for the proper "ask". He will show you why sometimes a positive and visionary attitude is everything. He will even teach you how to be flexible with your story and locations in an effort to give yourself the best chance of finding and securing a crew that can take your film from OK to masterpiece. Barry is an excellent teacher. He never fails to inspire and make you understand that what you always believed to be impossible, or at least ridiculously daunting, is not only possible, but absolutely attainable if you follow his methods. I wouldn't be where I'm at without him. - Julia V.
History is littered with the bones of many failed films which fell apart due to conflicts between the director and producer. While you'll often hear how important it is for a filmmaker to have relationships with all the vital players and department heads on his or her set (and it certainly is), the reality is that the relationship between the director and the lead producer is the one that will begin the earliest and last the longest throughout a particular project. A healthy, cohesive relationship between the film director and the producer will show the cast and crew that a united front has been formed and that everyone is pulling in the same direction. An unhealthy, bifurcated relationship will put the cast and crew on their heels, which will inevitably hurt the project. Directors and producers are often people of vision and power. Harnessed correctly and collaboratively, that combination can bring out the best in everyone and help to make a project stay on time, on budget, and on message and voice. Harnessed incorrectly, ego and hubris take over. It may seem obvious that communication is the key to assuring that the relationship flourishes, and that's not totally untrue. But the key to a productive and positive relationship between the director and producer is understanding all aspects of what needs to get done, recognizing what the other person's needs are, defining what's worth standing up for and what's worth letting go, and recognizing that at the end of the day, you're both fighting for the same result. As President of Production at Zero Gravity Management, Tai Duncan oversees film projects from inception to completion encompassing all aspects of development, casting, finance and production. Zero Gravity is a production and management company based in Los Angeles that boasts a strong client list of screenwriters, directors, actors and financiers for feature films and television. Tai recently produced PROUD MARY for Screen Gems starring Taraji P. Henson and HOW IT ENDS for Netflix starring Theo James and Forest Whitaker, HONEST THIEF starring Liam Neeson and THE MARKSMAN starring Liam Neeson. Zero Gravity produced the Warner Brothers, Ben Affleck starring action/thriller THE ACCOUNTANT, the drama A FAMILY MAN starring Gerard Butler and Willem Dafoe and Executive Produced the hit Netflix television show OZARK starring Jason Bateman. Needless to say, as an on set producer, Tai knows a thing or two about the director/producer relationship including the pitfalls and the paths to glory. Beginning with pre-production, Tai will take you what steps you will need to take from moment one to forge a productive relationship that will last through post and beyond. Tai will talk about the steps you need to make to assure you are communicating clearly and effectively. He will talk you through script notes, casting, hiring crew, location scouting and scheduling. Moving on to production, Tai will teach you how to keep things smooth on set, how t manage disagreements, scheduling and money issues, and the push and pull between what a director wants and what he or she has in the can. Tai will then move on to post, and how to manage expectations during the assembly cut and the director's cut. He will discuss scoring, sound and color, sales and marketing, festival approaches, and even distribution strategies so that everyone is fully communicating and staying on the same page throughout. "Don't allow a failed relationship, miscommunication or misplaced ego sabotage all the work and effort that's gone in to putting a project together. Cohesiveness begins at the top and must continue throughout the project. I'll show you how to get it done." - Tai Duncan
As an independent filmmaker or producer, you likely start working on a new endeavor for creative reasons—the chance to tell an amazing story, build worlds, create something of cultural value. Yet this is of course not the only element of filmmaking. Like it or not, your independent film is not just a creative endeavor; it’s also a business. You’re sourcing financing and bringing in investors, building a team, and creating a property that will (hopefully) ultimately make money. In this way you’re not just a making a piece of art; you’re also running a business. To operate successfully in the world of independent film and continue to make films that you’re proud of, you need to be able to think like an entrepreneur and understand the dynamics and the relation between financing, distribution and recoupment of film investments. The business side of films is often especially difficult for filmmakers and creative producers, but it's doable. In fact, there’s a bit of a sweet spot for independent films in the $1MM range and a viable path to profitability for films of this level. The key is to intimately understand how money—both hard money and soft money—flows in and out of the project. Getting a handle on this flow puts you in a powerful position, because not only can you make your current film profitable; but you will also create a business model that you can apply to your future projects, and eventually a portfolio of profitable assets (or films) that will serve as an effective and undeniable calling card as you continue to grow in the industry. This entrepreneurial approach might not be second nature to creatives, but it’s something you can learn and something that will aid you tremendously. David Zannoni is consultant for Fintage House, the world's most respected company for revenue and rights protection for industry professionals and companies. He serves as the company's representative for the Americas. David negotiates agreements for films and television series and is involved in business development and relationship management specifically in the US, Latin America and Europe. As an international film business specialist David is continuously present to make deals and speak at international film markets, festivals and conferences, including: the Cannes Film Festival, the European Film Market (EFM) in Berlin, the American Film Market (AFM), Ventana Sur, the Bogota Audiovisual Market (BAM), and the Toronto International Film Festival (TIFF), and travels regularly to the United States, the Netherlands, Europe, and all over Latin America. David is intimately familiar with how independent films are financed and made profitable all over the world and will share what he knows exclusively with the Stage 32 community. David will focus on the US market and walk you through what you need to know to finance your independent film, $1MM or less, and leave profitable. He will begin by explaining what a $1MM or under budget looks like, whether it’s considered a small film or microbudget, and how it compares in the larger worldwide film market. He’ll delve into how to see your film as an asset and how to use this viewpoint to work with investors and provide profit. David will give you the tools to think like an entrepreneur and explain the relationship between financing, distribution, and recoupment of investment. David will then teach you how to take a business approach to a $1MM and under film project. He will discuss debt and equity financing and compare it to soft money, demonstrating both of their impacts on your recoupment. He’ll then go over how to finance your film through bank loans, tax credits, private lenders, equity investors, and family and friends. In doing so, he’ll demonstrate the differences between lenders and investors and demonstrate how to make—and keep—all of your investors happy. He’ll also go over ways to mitigate risks for yourself and your investors. Plus, David will show a case study of a real $1MM US film to illustrate how a film of this level can be profitable and exactly how the money flows through from beginning to end. He’ll show financing documents and spreadsheets to illustrate the financing structure, the role of the sales agent, and how he navigated the film’s distribution agreement. Through this detailed and practical demonstration, you will leave with strategies and a deep understanding of how to approach your own $1MM film as an entrepreneur and build a finance structure that will leave you and your investors profitable. Praise for David's Previous Stage 32 Webinars "David is incredible and lovely and clearly knows his stuff." - Cynthia P. "Eye-opening information. A no-brainer approach that wouldn't be so obvious to the uninitiated." - Gary O. "By far, the best class I've seen on the subject." Kirk K. "David is a fantastic teacher. And what a voice! I could listen to him all day. More importantly, I learned so very much!" - Isabella T.
The world of independent horror is like no other arena in the film industry. The appetite for new horror films is strong, consistent, and seemingly endless, as always-hungry audiences continue to seek out new titles. As a result, hundreds of horror films are made each year and the market itself is incredibly profitable. Yet in such a saturated market and with such a volume of horror films being released, it can be very hard to stand out. After all, out of hundreds of horror films, there are always only a couple BABADOOKs or GREEN ROOMs that have real staying power. A lot of people are able to work in the horror space, but staying in and thriving can be a lot more difficult. The challenge lies in figuring out what you can do to make your project and your work stand out. The independent horror film industry can be a difficult world to navigate, fraught with unique challenges and hurdles. Rules and trends that apply to the film industry on a larger scale can often differ when zoomed into just horror. It’s important, then, for filmmakers interested in the independent horror space to understand this market specifically and better operate within it. How do you get meetings, get your work read, create a name for yourself, and get attention? How can you create projects and own your craft to continue to work within the constantly changing space of horror cinema? The horror world does have plenty of obstacles, but there are many steps you can take at any level of your career to get ahead of the curve. Rebekah McKendry was the Editor-in-Chief for Blumhouse Productions as well as the Director of Marketing for Fangoria Entertainment. She is also currently a co-host of Blumhouse’s award-winning Shock Waves Podcast (along with Ryan Turek, Blumhouse's VP of Development) and host of Fangoria’s Nightmare University Podcast. Rebekah now serves as a professor in the renowned University of Southern California’s Cinematic Arts Department, specializing in directing and the horror genre. There are few people in the world who understand the world of horror filmmaking better than Rebekah, and she’s excited to share what she knows exclusively with the Stage 32 community. Rebekah will explore how to understand trends and tastes in horror, changes in distribution models and budgets, and how you can prepare for a long career. She will begin with a brief history of independent horror cinema, focusing on how horror tastes have evolved, how the genre has developed, what sort of trends have been created, how distribution models have changed, and social issues and problems that have come along with it. She’ll then delve into the current horror film market. She’ll outline the key players who are producing notable horror films and discuss the successful budget ranges that we are seeing right now. Rebekah will go over the production models that are being used in the horror space, including the conventional “studio” model, as well as the Blumhouse model. Next she’ll get into the microbudget film, what that looks like and what you have to maintain for it to work. Rebekah will then talk about distribution and how to navigate this part of the industry. She’ll teach you about the contemporary trends in horror films, outlining what’s popular and why, and what might be coming in the future. She’ll discuss the specific need and push for diverse voices within this genre and speak to the opportunity for social awareness in these films. Next Rebekah will teach you how to thrive in the horror industry as a filmmaker. She’ll go over how to craft a project, how to generate hype and get exposure for it, how to navigate conventions and festivals and what you can do to help get your script read. You will leave this webinar with a firm handle on this unique and tricky subsection of the film industry. Praise for Rebekah's Stage 32 Webinar "This was awesome! Succinct but full of up-to-date information and very motivating. I love that she harped on "just make something!" So positive and supportive and I learned a lot!" -Allie R. "This was amazing! I was hesitant about spending $50 on this but it was worth every penny!" -Taylor D. "I thought Rebekah had by FAR the best webinar I have seen yet. She has such passion and coveys it- and she obviously has been in the industry and around it in so many ways her whole career - fantastic!" -Gail B. "This is exactly what I needed to see and hear, and Rebekah provided so much good information that I can apply to my projects." -Irene C.