Location Scout + Location Manager R. Richard Hobbs
"My bill says, let's put a cap on it at $100 million, so the Film Office can award these up to a certain point in a calendar year, then they have to stop. …
Michigan's movie role pays off DetNews.com all 5 news articles
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"It is hugely encouraging that this is, in part, an initiative of the Louisiana Film Office and the Lt. Governor's Office in Baton Rouge, " Duffey said. …
Oakland International Film Festival rolls out the red carpet San Jose Mercury News all 5 news articles
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FilmL.A. | On-Location Production Solutions
“FilmL.A., Inc. is a Los Angeles-based, nonprofit organization which provides a crucial link between film production companies and the communities in which they film. Since 1995, we’ve led the local communities, industries, and governments of Los Angeles in important collaboration to sustain our region’s worldwide leadership in film, television, and commercial production.”
Yahoo! Search: FilmL.A. EIDC
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New Hampshire Film and Television Office | About the New Hampshire Film and Television Office:
“The New Hampshire Film and Television Office, as part of the New Hampshire Department of Cultural Resources, works to expand business activity and employment throughout the state by acting as a liaison between the film industry and an established network of government agencies, the state’s film industry workforce, and private residential and business property owners.
Working in tandem with the New Hampshire Film Commission, a fifteen-member advisory board made up of film industry professionals, government officials, and representatives of state associations, the Film Office is responsible for location research, public relations, literature publication and distribution, and general production support in an effort to broaden the cultural and economic impact of film and television production in the state.”
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About the New York State Governors Office of Motion Picture and Television Development:
“Our office is your liaison with city and local governments, state agencies, a network of statewide contacts, local film offices and professional location scouts. Call us and we’ll get you what you need or find the people who can help.” …read the rest…
The New York State film production market is one of the largest in the United States as well as world-wide and has a world-class film office located in New York City equipped and eager to service the needs of the production community while furthering economic development in the State of New York.
Being located in New Jersey, very close to New York City and the lower Hudson Valley of New York, I call on the NYS Film Office (as well as the NYC Mayor’s Office of Film, Theater and Broadcast (MOFTB) - the film liaison for New York City) frequently for assistance with location and production needs for film, video, photo and events productions; the NYS Film Office (as well as MOFTB) are always helpful and knowledgeable helping me solve any location or other production-related challenges as New York (state and / or city 
might avail themselves.
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New Jersey Motion Picture and Television Commission Production Services Directory
“The Production Services Directory is your comprehensive guide to production related personnel, goods and services available in New Jersey. Search the category index…” …read the rest…
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“Governor Corzine has eliminated funding for the New Jersey State Film Commission starting July 1st 2008.
That means they will no longer exist after that date.
Beginning June 30 2008, The Government of the State of New Jersey has decided to eliminate The New Jersey Motion Picture & Television Commission from the state budget -
Filming in the state of New Jersey generated $92 Million dollars last year, money spent to employ New Jersey residents, as well as purchase goods and services from New Jersey businesses.”
There are often HUGE misconceptions about the purpose and scope of a film office - when someone, especially perhaps a person not directly involved in the production industry (please note that word - “industry”) - hears that phrase, “film commission”, their knee-jerk reaction might be, “oh, that’s lovely - a department for the arts”… and the conventional school of thought might be, “oh, that’s lovely, but if state funds are scarce….”
Guess again. The New Jersey Film Commission is about economic development.
“Filming in the state of New Jersey generated $92 Million dollars last year, money spent to employ New Jersey residents, as well as purchase goods and services from New Jersey businesses.”
That ain’t chump change.
Filmmaking is a clean industry as well - you won’t have a movie come in and find out later they left heavy metal deposits in the ground water.
Please contact The New Jersey Motion Picture & Television Commission today and find out how you can help save this invaluable economic resource from misguided legislative actions at New Jersey state government levels:
New Jersey Motion Picture & Television Commission
153 Halsey Street - 5th Floor
P.O. Box 47023
Newark, New Jersey 07101
Phone: 973-648-6279
Fax: 973-648-7350
Email: njfilm@njfilm.org
Web: http://www.njfilm.org
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CNN Money | Many unaware of mortgage help: Freddie Mac | January 31 2008: 1:01 PM EST | Survey says more than half of delinquent mortgage borrowers still unaware of ways to avoid foreclosure.
NEW YORK (CNNMoney.com) — “More than half of borrowers who have missed mortgage payment deadlines are still in the dark about ways to avoid foreclosure, but that percentage is falling, said a survey released Thursday.
Research from government mortgage buyer Freddie Mac and marketing research firm Roper Public Affairs and Media said that 57% of late-paying borrowers are unaware of foreclosure alternatives offered by their lenders.”
Get help!
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The New York City Mayor’s Office of Film, Theater and Broadcast (MOFTB) publishes a monthly newsletter which features news about the film office as well as other news of interest to the film and tv production communities.
I particularly like the regular Location of the Month section of each month’s newsletter, in which a city-owned property (such as perhaps a building) or park or New York City neighborhood which may be available as a filming location is highlighted.
The City of New York makes many properties available for filming at no or nominal cost in the interest of promoting filmmaking and economic development for the city.
Use of the various properties is often directly administrated through specific city government agencies depending on the property(s) in question, however, the film office can be quite helpful in directing filmmakers to the appropriate agency.
The current newsletter may be read online by following the link above; free subscriptions via email are offered as well.
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This interesting newspaper editorial article came my way via my email inbox via The Hartford Courant and Google Alerts wherein the Courant calls on the Connecticut Commission on Culture and Tourism to clarify its placing Film Commissioner Heidi Hamilton effective August 21st.
The problem seems to involve questions of internal policy matters at CT state government levels and I would presume (or would at least hope) that the matter is under review by an authority in the CT state government in a position to decide who followed or mis-followed policy.
In the meantime, tho I have not personally dealt with the CT Film Office lately, Ms. Hamilton is likely sorely missed by the film production industry specifically with regard to productions with potential to film in CT.
Ms. Hamilton has been very innovative in attracting new film production business to the state by way of considerable tax breaks and other film office services available to filmmakers.
I was interviewed last week by New York, NY CBS affiliate WCBS-TV, for a video news article entitled Hollywood Being Priced Out of 1 Upscale Rockland County Town that ran on the Thursday, April 12th 11pm Newscast and in extended form the following morning on the Morning News regarding a situation in Orangetown Township, NY whereby the town has initiated a $500 per hour fine for film crews present before 7a.m. or after sunset.
As I said on camera, Orangetown’s fees are exorbitant. I could never recommend sending a film crew to Orangetown under these circumstances. Film makers are not fools and contrary what many casual observers seem to think from what they may have seen on Entertainment Tonight, the production side of film and tv are not about burning thru money as fast as you can throw it on a fire, which is about what Orangetown’s fees amount to.
Directors Guild of America (DGA) publication on the subject of runaway film production
Evidently, at some time or another, someone was inconvenienced by production vehicle traffic (I am told it is one individual in particular and a review of town meeting minutes on the town website reflects a couple of instances where the same few specific residents made complaints about filming activities). The Town Supervisor, Thom Kleiner was quoted as saying they were inconvenienced by truck traffic.
The majority of film productions are very willing to work to with local residents as well as local government and law enforcement to facilitate conditions with every one’s best interests in mind. It seems like something cumulatively seriously fell thru the cracks in Orangetown.
It just doesn’t seem to all add up.
Time lost by residents due to occasional temporary neighborhood film-production traffic delays: 15 minutes?
Time spent preparing for and attending town meetings to complain: hours?
What’s sad is the town has cow-towed to these several misguided and selfish individuals. The many positive effects that film production has on a local community seems to be lost on this bunch.
Film production brings business to town. If there is a crew shooting they are likely putting people in hotels, eating in local resturants and using local caterers, shopping at local retailers and spending money with any number of other local businesses, not to mention owners of property used for locations who could be banking several mortgage payments in fees when their properties get utilised by production even just short-term.
Film production is a decent-size industry which accounts for around $5 billion a year New York City alone. In fact, contrary to popular belief, the local film offices exist not primarily as arts and cultural entities but rather as offices of economic development and the New York State Film Office and New York City Mayors Office of Film, Theater and Broadcast (MOFTB) are very active at their respective government levels to create tax incentives to attract film makers. A study of effects of New York City’s recent Made in New York Incentive reflects dramatic annual shoot day increases over the past several years which translates to a more than $3 billion increase in city revenue from film production. Tax incentives have shown to generate 30%+ returns, or, every tax dollar waived, have resulted in $1.34 in increased overall revenue.
The New York State Film Office and NYC MOFTB have both worked long and hard to attract filming to the state and greater NYC metro area, so, a town like Orangetown is, for all intents and purposes, shooting the film offices (as well as their own local economic development) in the foot.
Film Production is clean. You dont have to worry about cleaning up the ground water after a film company leaves town.
There is no doubt that for most people, being able to say that you have had a movie made in your town brings a sense of pride and most find experiencing the process to be fun and exciting.
An active local film/arts community does a lot to raise the cultural level of any town or city.
C’mon Orangetown, wake up and smell the coffee!
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From the New Jersey State Film Commission:
New Jersey currently offers these financial incentives to filmmakers, and the US Government has an incentive program as well:
20% TAX CREDIT PROGRAM
New Jersey offers a tax credit in an amount equal to 20% of qualified production expenses, available to production companies meeting certain criteria, chiefly:
(1) At least 60% of the total expenses of a project, exclusive of post-production costs, will be incurred for services performed and goods used or consumed in New Jersey
(2) Principal photography of a project commences within 150 days after the approval of the application for the credit
NEW JERSEY FILM TAX PROCESS GUIDELINES PRINTABLE APPLICATION FOR NEW JERSEY FILM TAX CREDIT (IN ADOBE PDF FORMAT) EXEMPTION FROM NEW JERSEY’S 6% SALES TAX
Certain tangible property used directly and primarily in the production of films and television programs is exempt from New Jersey’s 6% sales tax. This tangible property includes the purchase of replacement parts for machinery, tools and other supplies, the purchase of lumber and hardware to build sets, the rental of picture cars, the purchase or rental of other types of props, and costs related to the repair of camera and lighting equipment. To view the entire law, click here:
LAW GRANTING FILMMAKERS SPECIAL EXEMPTION FROM 6% STATE SALES TAX EXEMPT USE CERTIFICATE (FORM ST-4) AND INSTRUCTIONS THE NEW JERSEY FILM PRODUCTION ASSISTANCE PROGRAM
The Film Production Assistance Program allows film projects to be eligible for loan guarantees through the New Jersey Economic Development Authority. Guaranteeing a portion of loans made by other lenders encourages these lenders to finance projects they might not ordinarily finance on their own.
Loan guarantees cannot exceed 30% of the bank financing cost of the project, or $1.5 million, whichever is less.Until now, most film industry projects did not meet EDA eligibility requirements because the jobs they created were temporary. The new law expands the criteria for the EDA’s loan guarantee program so qualifying film production companies can participate.
The legislation sets important criteria for eligibility:
- At least one-half of material and production costs must be spent in New Jersey.
- At least 70% of shooting days must take place in the state.- Prevailing wage must be paid to workers employed in the project to be financed.
- The project must possess performance bonds.
Application forms are now available. For additional information, follow the links below:
LAW CREATING THE NEW JERSEY FILM PRODUCTION ASSISTANCE PROGRAM PRINTABLE APPLICATION FOR NEW JERSEY FILM PRODUCTION ASSISTANCE PROGRAM (IN ADOBE PDF FORMAT) WEBSITE FOR NEW JERSEY ECONOMIC DEVELOPMENT AUTHORITY NATIONAL TAX INCENTIVE PROGRAM
The American Jobs Creation Act, signed into law by President George W. Bush on October 22nd, 2004, offers tax breaks to film and television producers.
DETAILS ON AMERICAN JOBS CREATION ACT
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Not everybody knows about the Association of Film Commissioners International …or even what a film commission (or film office) is.
A film commission (or film office) is a bureau or office set up by (or perhaps in partnership wth) a local government by a group of interested parties to facilitate promoting their area for use by various visual arts industries, which could include film, video / television and photography, as well as many peripheral related industries which could involve theater, radio, music, professional talent (actors, models), hotels and hospitality- even the local dry cleaners! For the sake of brevity for the rest of this article lets just say “filmmaking” or “film industry“.
The obvious main reasons for attracting filmmaking are for local economic development and general promotion of the arts. Convential wisdom dictates that the more money changing hands with more hands (economy) the better off the community is and prevalence of the arts in any community makes that community generally more “livable“.
In addition to a being considered a relatively environmentally “clean” industry, filmmaking normally requires considerable local support from many other peripheral industries and businesses to function, as well being “people intensive”, thus creating local jobs and business opportunities.
There is simply no better way to showcase a community than for the world to to “see it in pictures“.
The best way for a local film office to promote filmmaking is to do everything it can to streamline the production process for filmmakers, so the more working knowledge a film office has of typical challenges productions face, the more effective the film office can be in making their area attractive to filmmakers.
There are a number of ways for film offices to help production; some of the more easily recognisable ways might be:
I hope all this gives you some idea of what business an article about film commissions has being on a location scouting website (this *is* a location scouting website, after all ;-).
More specifically, if you are a property owner, if you are interested in having your property used for filming, besides local location scouts, (more prevalent locally in larger metro areas) your local or state film office(s) can assist you in promoting your property to filmmakers.
For production folks, a local film office should be one of your first calls when researching or when you are in the early planning stages for a project. Local film offices are an all-too-often overlooked, generally free, resource.
Association of Film Commissioners International exists to provide communication and exchanges of ideas between film commissions worldwide and as such is a very good resource for finding and contacting same.
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The Creative Planet websites are the online version of all those niche trade magazines you always can never resist subscribing to (free for qualified subscribers!) and often wonder what you were thinking as six months of “Widgets Monthly” piles up unread; the upside of the online versions (if you can stay your trembling hand from subscribing by email) is you can stay up to speed on your own time on the latest technologies (yup, lot-o industrial/gear/tech press releases) online -and no trees died for your sins:
Feeds are available, but as far as I can tell only on the The Creative Planet websites, I wasnt able to find any links to subscribe to the feeds. It would be really nice if these feeds were rss-enabled on the public side; If they were, if you had the tech where-with-all to have (and have figured out how to use) a newsreader, subscribing to feeds to my mind is inherently a lot less painful than an email subscription when you just feel information-overloaded or grow loathe of whatever content you may have happenned to have subscribed to. A lot less potential privacy issues as well, altho admittedly a company such as CMP Media (parent of The Creative Planet websites) is by nature in the business of selling advertising based on aggregation of market research and demographics data, which is probably their reason for not offering up anonymous feed subscriptions. Just seems oh-so-old-school…oh well.
On the proverbial flip side of the burger, if you are a business in a related field, companies like CMP can provide an important outlet for announcements of newsworthy events or innovations that involve your business. As depressing as all those back issues of WidgetWorld can look piling up on your commode tank, the fact is that journalists rely on these types of periodicals and the data contained therein for background and research. You want to be sure there is plenty of positive hype about your ground-breaking widget in FindArticles as well as (obviously) on Google and Yahoo.
I personally also like PRWeb, and also NewsisFree for driving people crazy with announcements of my latest bits of news of widget of the month
About Creative Planet Communities
“Founded in 1997, the Creative Planet Communities, a division of NewBay Media LLC, offers online resources for the film and television production professional. Updated daily, the CPC sites offer news, articles and discussions forums for the creative community. The company’s network of sites includes 2-pop.com, VFXPro.com, Cinematographer.com, Videography.com, DCinematography.com and DesigninMotion.com.”
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Note: The following is a draft of “Securing A Great Location”, published in Moviemaker Magazine’s 2005 Beginner’s Guide To Making Movies
MovieMaker Magazine | Securing a Great Location | By © R. Richard Hobbs 2004
Chances are, before too much time goes by, you, as a film maker, will be forced to reckon with venturing out of the cozy, controllable confines of a studio/soundstage and into that great wild beyond known as a location.
If you are a director, your job, (among a plethora of other tasks, of course!), is to think of creative ways to bring a story to life visually.
If, like me, you are a part of the locations department (location scout and/or location manager), your job is to help the creative team toward this end, and while hopefully thinking equally as creatively and presenting actual real-world location possibilities, at the same time you are obligated to pay quite a bit more attention to the practicality, logistics and nuts and bolts of actually pulling the shot off at the location(s) you might suggest and following up on same.
Depending on your budget and/or method of working, even though your title may be Director, Assistant Director, Production Manager or even Executive Producer, you may be required to deal with some of the issues yourself that by rights are normally the Locations Department’s; in any case a little “cross-training ” and insight into what some of the other crew does cant be any less than a good thing!
All this said, my story will attempt to offer some useful information toward securing the perfect location from the locations department’s point of view.
As mentioned before, (the aesthetics aspects notwithstanding), there are a number of practical aspects to consider when choosing a location. What follows is by no means complete, but here are a few items in no special order:
Does the location you are considering work from all technical & logistical points of view? Some questions to ask yourself:
Where will I put all those trucks and people?
Is there room for (if not normally legal, then permitted) parking? It is imperative that you or someone from your crew scout the area adjacent to the set beforehand to make sure there is room and to be sure that room is not in front of a hydrant, fire department or bus stop, etc.
If parking is “tight “ (in high demand) you need to be sure that parking will in fact exist when your crew arrives! Having a permit to park there is one thing, actually “owning” the parking space(s) is another! (As we all know possession is 99% of the law;-)
In New York City (where I work) there are specialists called Parking Coordinators or Coneheads (for the orange cones they put out). Hire them.
You need to be sure you can meet the electrical requirements of your shoot. Be sure there is sufficient house power or you can get your genny truck close enough, and be sure you have sufficient electrical cable in any case!
Is there holding? (a comfortable place to “hold” people while they are not on set) If you are using SAG actors, a requirement is that they have a separate, private area for changing clothes. Be sure there is air conditioning or heat if the weather requires it!
Does the location work logistically?
Be careful with scheduling! If you are shooting a scene on one side of town in the morning and it takes an hour to drive to the second set, another hour to set up and then an hour of shooting, you are probably already into meal penalties. Try to find locations close to each other when scheduling scenes to be shot/ talent on call on the same day.
Is there room to work?
The most gorgeous room in the world is useless is there is not enough room to get the camera/dolly/lights/actors in there for the angles needed to make the shot.
What if it rains?
Do you have a “Plan B” in your pocket? Be careful with weather and cancellations of locations, talent and equipment. It can get expensive.
Is there light there?
Is there the correct lighting for the mood you are trying to achieve (or can you make it?) A location can look significantly different on a cloudy day from the day you scouted it and there was daylight streaming thru the branches casting patterns on the ground!
Are you absolutely sure you have permission to be there?
Does the owner understand that it won’t just be someone with a camcorder stopping by for a few moments? We become so used to our own world that it sometimes ceases to occur to us that people outside the film industry most often have (or have any reason to have an) inkling about what is actually involved in making a film. You need to be straightforward and accurate about all those trucks, equipment and people that will be showing up for 12-14 hours.
You should have also prepared in advance a synopsis of the story and the specific scene(s) you are shooting and explain this in detail to the owner. Sure, we love our story, but everybody has their own views and what seems perfectly normal to us may seem controversial or blatantly offensive to someone else (for no apparent reason to us) yet it is they that will have to live with being associated with the film. This is a very large, diverse, very politically correct world we live in today!
You should always use a property release form and get it signed by the location owner. A property release, in a nutshell, is written permission for you to depict a property to the public on film. Without it, you may leave yourself open to claims of invasion of privacy or other damages. Just do a Google for “property release”, there are standard forms around you can use.
You should always find out beforehand if there are any local or municipal permits or fees required where you are filming and comply fully with those requirements. A local film office, the city clerk or police department for a given municipality should be able to tell you what, if any filming permit requirements may exist.
Q: What could suck worse than finding out you don’t have time or money for a permit? A: Getting your production shut down in mid-shoot because you don’t have a permit.
There a few other general suggestions I might offer that may help you in your quest for the perfect location:
Never underestimate the power of a film office!
Local film offices are some of the most underutilized FREE resources available to film makers. A film commission can get you “in” places you could never touch on your own. They have the credibility of being associated with government plus can be an advocate for your project! They can be a godsend if you are filming outside your home turf- They most often have listings of local crew and location ideas for you. They know the local customs and any permit requirements that may exist! Be nice to film offices!
If you want to find out if there is a film office in your area try here first: www.afci.org
Leave time for permitting/getting permissions
I can’t begin to tell how many great locations have been aborted (or lost!) because there was insufficient time allowed to get permission or secure permits. This malady seems to especially afflict film makers just starting out for some reason (?).
Q: Hey, can you get me and my crane on a rooftop in NYC to shoot tonite?
A: Sorry, ain’t gonna happen, bubba.
If time is tight one option may be to use a location agency. These are people/companies (often scouts or location managers) that have an archive of existing pictures of locations that have often been previously used (or scouted and not used for one reason or another) Sometimes time can be saved this way, but don’t expect miracles- permissions must still be obtained and fees negotiated on your behalf.
Do you have insurance?
I personally won’t go on a shoot or book locations for a production without insurance. You should have a minimum $1,000,000 (standard now actually seems to be $2,000,000) commercial liability policy that allows for additional insurance of third parties. If you are using payroll and have employees then you should have workmen’s comp. Some locations require proof of this.
Use the right tool for the job!
You wouldn’t use a screwdriver to drive in a nail (or maybe you would ! Anyway, hire a location scout/manager! We are there for u!
Adios, good luck and p.s. please invite me to the Oscar Party!
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“Location Scouting is a vital process in the pre-production stage of filmmaking and commercial photography. Once scriptwriters, producers or directors have decided what general kind of scenery they require for the various parts of their work that is shot outside of the studio, a search is begun for a suitable place or “location” outside the studio. Location scouts will also look for appropriately spectacular or interesting locations beforehand, to have a database of locations in case of requests.
Location scouts are also often tasked with negotiating legal access to filming locations.”
…elsewhere on nyc.locationscout.us:
Location scouting - Revision history
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About Filming Permits | Information for Production and Property Owners:
Additional Info:
Towns and municipalities in “The Zone” are more likely to have formal permit requirements and there may be fees involved. Towns and municipalities outside “The zone” may have permit requirements as well, however requirements tend to relax as distance from New York City increases and population density decreases.
There are exclusive communities that do not allow filming at all, however this is the exception.
The point being made is that property owners and production alike should check with local government as to whether a property (whether it be municipally-owned or privately owned) under consideration as a filming location is subject to film permit requirements.
Property owners and production alike should understand and should be prepared to comply with any local filming or photography permit requirements as they may exist. Not only is it the right thing to do, but when you think about it it be could darn expensive to reshoot after being shut down for not having a permit!
The city clerk’s office or police department are good starting points for getting information regarding local film permit requirements.
Often a film permit will include require production to provide a certificate of insurance showing the municipality third-party additionally insured.
Sometimes “leafleting” or advising neighbors in writing of an intended shoot is a permit requirement.
Many permit requirements revolve around issues of impact on the community with regard to traffic congestion and safety, noise, and “general commotion”. Even a small photo crew, under certain circumstances, let alone a large production with a large crew, many vehicles and a lot of equipment can be potentially be very disruptive to neighbors or the area at-large.
Permit requirements very widely from town to town and can require as little effort as notifying the local police department or sending the town a letter of intent to multiple forms to multiple local government offices / agencies and fees of over $1000 per day.
Even if there is no formal permit required is usually advisable to contact the local government and police department, especially if a shoot is to take place on public property or has any potential whatsoever of being disruptive in any way.
Helpful links:
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