Budget and breakdown
Script breakdown, a costed schedule, and cost control through the shoot rather than a reconciliation after it.
Preparing your journey
A shoot rarely comes apart over the shot list. It comes apart over a permit that did not arrive, a crew that landed without visas, or a location nobody actually cleared. That is the part we run.
Line production is the physical side of a film: the budget, the schedule, the crew, the locations, the permits, and getting every one of those to the same place on the same morning. Take the whole of it, or only the parts you are short-handed on.
Since 2009 this desk has moved units for Darshan, Yash, Kichcha Sudeep, Puneeth Rajkumar, Shiva Rajkumar, Upendra, Ganesh and Dhruva Sarja — from a first-time debut to a hundred-day multi-state schedule. The group owns the parts separately: a location company, a production house, an events business and an IATA travel agency. One desk in Jayanagar instead of five vendors who blame each other when a date slips.
Quoted before the recce, so the number you plan against is the number you pay.
Script breakdown, a costed schedule, and cost control through the shoot rather than a reconciliation after it.
Day-out-of-days built around actor availability, monsoon windows and permit lead times, not wishful thinking.
Local crew hire, junior artists, and the paperwork that comes with both.
Scouted against the brief, negotiated with owners and film commissions, and marked honestly for what is cleared and what is not.
Municipal, forest, railway, airport and police permissions, plus the film commission paperwork on overseas legs.
Flights on IATA stock, visas across 60+ countries, hotels near the unit base, and vehicles that arrive when called.
Arri Alexa XT and SXT bodies with Codex workflow, monitoring and heads, held in-house in Bengaluru. Owning the package means the camera is on the truck on day one instead of waiting behind somebody else’s schedule, and the hire line stays off the budget. Serial numbers below; tap any photograph to enlarge it.
The workhorse body, its viewfinder, two Codex cards and the monitoring that goes out to the director and the DOP.
Alexa XT bodyWith eye piece and extension rodK171300-6656
Codex card readerCDX-75112
Codex card, 512 GBFirst cardCDX-3730
Codex card, 512 GBSecond cardCDX-3730
Hako 4K monitorWith two cablesS-1730
Panasonic monitorWith cableBT-CH1850
Camera hood, set one
Camera hood, set two
O'Connor head
Studio assist head
Two big stands, one small stand and a low base travel with this package.
The second body, a 1 TB card, on-board and director's monitoring, and the laptop the rushes come off on.
Every film this office has line produced, produced or distributed, with the working stills from the shoots.
Turns a script and a budget into a shooting reality. Breakdown and schedule, crew hire, locations and permits, travel and stay, transport, and the day-to-day cost control that keeps the film inside its number.
Yes, and most productions do. Some want the full unit run. Others already have a line producer and need locations and permits, or only the crew travel and visas.
Yes. Schedules have run across India and overseas. The travel arm holds IATA accreditation and issues tickets directly, and the visa desk covers 60+ countries, so an international leg does not mean a new set of vendors.
At the point you have a script and a rough schedule. Permits and location access are the two things that cannot be compressed later, and they are exactly what gets left to the end.
One named person, the same one, from first call to wrap. Not a queue and not a different coordinator each week.
Send the script, the schedule and the budget range. We come back with what it takes to put the unit on the road.
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