3D Movie vs. 2D Movie

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Summary
It is a common belief that 3D movies are extremely expensive to make and only big-budget studio productions can afford them. In this White Paper we look at the actual production costs of a 2D and 3D shoot of the same movie to show the real cost increase of a 3D film over its 2D counterpart under various tradeoffs between cost and experience of the crew.
Cost Categories Not Included in this Analysis
In this analysis we focus on the cost of filming. Since we are only looking at a part of the total cost of making a film, the “total costs” numbers that you will see in this White Paper cannot be compared with the “total budget” for a film that you might find on IMDB or in press releases. The following table shows what items are included in this White Paper and which aren’t.
Costs that ARE included in this White Paper

Pre-Production Costs
Camera Prep Costs
Costs of the actual Shooting of the Film (except as mentioned below)
Post-Production Costs
Total Cost of Shooting the Film – covered in this White Paper

Costs that are NOT included in this White Paper 
All actors
Producers, Director
Music rights, composers
Visual or special effects – anything computer generated
Publicity, Corporate Overhead, Insurance
Legal, Financing costs, Accounting and Completion Bond
Contingencies
Total of the other costs that go into making a movie
Total Cost of Making the Movie – what you find on IMDB or in press releases

We have also not included the effect of tax credits, which depending on where the film is shot, can reimburse the production for as much as 40% of all expenses spent in that state or prov-ince1.
1 Michigan gives a 40% rebate for all in-state expenses. As long as the vendor is using a Michigan-based cor-porate entity to sell you their services, it qualifies for the rebate. However be aware that this program might be cancelled or modified as Michigan is facing budget issues.
Caveat: Not all Productions Will Fit our Model
We are assuming that our production has two goals:

  •  Shoot a film of the highest quality, a film that will be competitive in festivals and will be a strong contender to find international theatrical distribution.
  • To spend the budget wisely. By this we mean, a sincere effort to put as great a percent-age of the budget as possible “on the screen.”

There are two kinds of films in particular that are not likely to fit our analysis: very low budget films where the only way to get the feature shot for the available budget is to use unpaid or honorarium paid crew and to shoot 10 pages per day in a continuous shot with no break; and films whose budget is so big that they can afford to average one page a day to get the exactly perfect take.
Trade-Off between Experience and Cost of Shooting
There are advantages and disadvantages in using more experienced and well-trained crew:

  • The more pages per day you can shoot and the fewer days you’ll need. To get that same quality with a less experienced crew will take a more relaxed (and thus longer) shooting schedule.
  • The better will be the resulting film; more experience makes you a better filmmaker.
  • But it will cost more to shoot, perhaps more than you have available. So paying for a crew with higher experience might simply be out of your reach.

We suggest that filmmakers try hard to use as experienced a crew as possible, particularly in the team leader positions. It will make a big difference in the calmness and efficiency of the shoot and the quality of the resulting frame. Many unions are willing to work with a low budget film and to negotiate what parts of the union wages, terms and conditions will apply to a par-ticular production. Side letters to the Union Master Agreements or “Letters of Understanding” allow you to access union talent less expensively than you might think. So it is worthwhile to talk to your local unions and guilds and at least explore the option.

That said, we are going to create budgets for three different approaches to filming the same film:

  • Low ‘indie’ budget: some positions are combined, the crew is slightly smaller. Some po-sitions are volunteers (interns), and those that are paid are at the low end of the range. This shoot will have the lowest pages per day if it wants to achieve its quality goals.
  • High ‘indie’ budget: all positions are filled and all positions are paid, at rates slightly lower than union minimums. This could be either a bigger ‘indie’ production or a union shoot under a Letter of Understanding.
  • Regular union feature. The wage rates comply with union rates and the lead positions are better paid. This shoot will have the highest pages per day and the resulting film will be the best quality.

We have to acknowledge that not enough live action 3D films have been shot to give any of us hard data about what is “average” for a 3D shoot. However we do know enough to begin to make educated guesses and to point to strategies that are likely to see that your available budget is well spent.
Rules of Thumb Common to All Three Approaches
No matter which of the three strategies you follow in making your film, here are some very specific recommendations to make your shoot calmer, with fewer surprises, more efficient (in terms of getting value for your money spent), with a quality of 3D that you can be proud of.

  • Carefully research the rig and cameras you are going to rent. Talk directly with stereographers who have actually used the gear you plan on renting in a 3D shoot. Some rigs and camera combinations are much faster to set up, tear down, align, and change lenses than other rig/camera combinations. Bypass the hype; talk directly to someone who has actually shot 3D film with this combination. Some production companies ask to see a demonstration of the set-up and alignment and then a tear down of a rig and camera combination from several possible vendors, so that they can see for themselves before committing to a particular configuration recommended by a rental house.
  • Spend at least 1 week on your camera test. Even for a crew with significant 3D experience. This is the absolute minimum. If your budget allows, make it 2 weeks.
  • If you have any doubt about the 3D experience of your director, producer, camera crew, and data crew it would be valuable to have a day or two training on set with your actual production gear with all of the relevant people present. Bring in experts to:
  • Make sure that the workflow is working. Run a test right though from camera to archiving the data and getting dailies.
  • Make sure that the crew knows how to align the rig and change lenses efficiently, and
  • That the director and producer get used to what excellent 3D looks like on the monitor in the video village. If you are shooting a feature for theatrical release or if you are going to converge in post, what they see isn’t anything like how it will look in the theatre. They (especially the producer and director) need to get used to this before the shoot starts.
  • Make sure your director has a well-thought-out shot plan and the camera crew is in-formed well in advance. Director who changes their minds on set will add unexpected and unbudgeted time to the shoot resulting in a budget overrun or lost coverage.
  • Use zoom lenses if at all possible. If you are going to use primes, consider renting two 3D rigs. It will give you a backup and it will speed up your shoot.
  • ? Don’t try to shoot 6 day weeks. You will spend the money you thought you’d saved in extra pickups and a reduction in picture quality from an exhausted (and unhappy) crew.
Pages per Day vs. Crew Experience and Training
1. To arrive at budget numbers for each of the shooting strategies, we took an actual 100-page script of a horror/thriller film with a minimum of special effects. The film is to be shot on location on multiple sites (houses, hospital, office, performers’ tent, streets, hayfield, etc.) in various locations in one town in British Columbia.2
2 Since there are towns or communities that would work within commuting distance of Vancouver, we aren’t taking into consideration any travel or crew overnights. If the production team felt it was necessary to use a town outside of commute range, the increased tax credits might negate the travel and overnight costs. Since that trade-off is not a 2D-3D issue, we decided to omit it from our calculations.
3 This is the actual pages per day that very low budget film shot in 3D for theatrical release in the summer of 2010 experienced. The data comes from their AD. Many of the crew were recent film school grads and were unpaid; those that were paid received bottom of the indie scale pay. The rig used Red Ones before the new microcode that has made that camera more reliable for 3D. And the cast included a dog and a child. Hard to imagine a film with more challenges than this one. The film is now safely in post and this is the actual pages per day they achieved.

The goal is to shoot a 3D film of excellent quality, a film that will be competitive in attracting theatrical distribution throughout North America and Europe. In all three shooting strategies, we assume that you are using zoom lenses (or primes with second rig/camera system) and the rig/camera combination has been well-chosen. They have had a week of camera prep and their director is calm and well-prepared with no history of on-set dithering. The actors know their lines and there are no animals or children on set.

We asked a group of film-making experts for their considered estimate of what would be a reasonable pages-per-day to aim for. Several had more than 25 3D movie, documentary, or television credits, others had less 3D experience. Some were union members, others not. All had in-die experience at some point in their careers. We asked them to fill in the following table, based on their experience and the description of the film and its goals as stated above. Here is the consensus of what they said.

Estimate of Pages Per Day Low budget Indie Film with high aspirations of quality A high budget Indie film with aspirations of Festival Awards An experienced union crew focused on making a great film 2D 4.4 pages per day 4.7 pages per day 5.9 pages per day 3D 3.5 pages per day3(20% penalty) 4.0 pages per day(15% penalty) 5.0 pages per day(15% penalty)

[Any readers with experience with 3D shoots and willing to share their pages per day actual results are welcome to email us atLanaSafonova@FalseCreekProductions.com  Let us know if you’d like your information to be anonymous or credited.] 
Crew Size and Composition
We have assumed the following crew size and composition for each of the three scenarios as follows:

DepartmentNumber of PeopleLow budget Indie Film with high as-pirations of quality (Scenario 1)A high budget Indie film with aspirations of Festival Awards(Scenario 2)An experienced union crew focused onmaking a great film(Scenario 3)Production 13 19 22 Art 3 10 12 Props 1 2 3 Locations 2 4 5 Wardrobe 3 3 4 Hair & Make Up 3 5 5 Camera 6 8 8 Grip 5 5 5 Electrical/Lighting 4 5 5 Transportation 3 9 10 Sound 2 2 2 Special Effects 3 3 3 Editorial (Post) 4 6 8 Total Crew Members 52 81 92

In a low budget scenario, we had some positions combined (e.g. Production Designer/Art Direc-tor; 2nd AC/Rig Technician, Costume Designer/Head Wardrobe, Sound Effects/Music Editor) and there were not too many assistant positions (e.g. Assistant Location Manager, Assistant Art Di-rector, etc.) as there are on a bigger budget. We also reduced the size of some departments (the number of positions) as you can see from the table above. In a low budget shoot we also had volunteer Production Assistants/Interns with a small honorarium of $50 per week (Scenario 1) and a honorarium of $150 on a non-union shoot with a bigger budget (Scenario 2). For this first scenario we also assumed that we didn’t have to rent an office for the whole period of pre-production, production and wrap (we only budgeted for renting some space for production meetings/rehearsals), while in Scenario 2 & 3 we budgeted for renting a production office.
Crew Size and Composition
The following table shows some wage rates for the various levels (job types) for three different scenarios. We have used Canadian Dollars for this table and for the total cost of production
numbers that follow. With the Canadian and US Dollars trading back and forth around parity, it makes sense to simply pick a currency and adjust to other currencies as required.
It should also be noted that when budgeting for a union crew, you should always keep in mind union fringes and add them on to the standard fringe percentage that you have added to labour costs (fringes would be specific to location and union(s), you’re signatory to).

Wage Rates for Each Scenario before FringesJob TitleLow budget Indie Film with high aspirations of qualityA high budget Indie film with aspirations of Festival AwardsAn experienced union crew fo-cused on making a great filmProduction Manager, Production Designer $900/week$180/day $2,100/week$420/day $3,135/week$627/day Script Supervisor, Gaffer, Post Pro-duction Supervisor, Location Manag-er $665/week$133/day $1,200/week$340/day $2,064/week$412.80/day Stereographer $1200/week$240/day $3,200/week$640/day $3,800/week$760/day DOP $1500/week$300/day $4,000/week$800/day $4,750/week$950/day 1st AD $665/week$133/day $1,700/week$340/day $2,900/week$580/day Camera Operator $665/week$133/day $1,200/week$340/day $3,135/week$627/day Makeup Artists, Best Boy, Boom Op, Editor $605/week$121/day $1,120/week$224/day $1,650/week$330/day Set Decorator $450/week$90/day $900/week$180/day $1,650/week$330/day Drivers $450/week$90/day $900/week$180/day $1,200/week$240/day Production Assistants $200/week$40/day $600/week$120/day $810/week$162/day
The detailed composition of the crew with detailed wage rates can be found in Appendix B at the end of this White Paper.
Budget Increase: 2D vs. 3D
Following the assumptions above, we came to the following grand totals for the three scenarios:
Scenario 2D 3D Difference Increase for 3D 1 Low Budget Shoot $676,312 $875,785 $199,473 23% 2 A high budget non-union shoot $1,142,318 $1,391,253 $248,935 18% 3 A union crew shoot $1,392,008 $1,634,536 $242,528 15% Average percentage: 19%

The percentage of 3D over 2D increase differs in each scenario due a difference in underlying assumptions, as described above (positions added/removed; production office expenses, shoot-ing schedules, etc)
Analysis of High Budget Indie Film
Here we came to a grand total of $1,142,318 for a 2D shoot and $1,391,253 for a 3D one (see the variance report below), which makes it an 18% increase in going from a 2D to 3D production.
The vast majority of the cost increases come from the increase in camera rental cost for a 3D camera system and the addition of two more crew members. These costs are not going to go up as the budget for the film increases; in fact they are likely to stay generally fixed as the budget increases4. This means that as the budget for the film increases, the percentage increase gets lower. As a matter of fact, if you look at our union shoot budget (with a grand total of $1,634,536 for a 3D shoot and $1,392,008 for a 2D shoot), you can see that 3D over 2D percentage has come down to 15% in this case. Or, let’s say if the same increase of $248,935 is ap-plied to a $3 Million feature, the increase is only 8.3%. And for a $10 Million feature it is a 2.5% increase.
4 They will go up with an overall increase in the wage rates or by a decision to have more than one camera system on set.
5 The percentage differs from the total one due to different number of days scheduled for shooting.
6 The vast majority of 3D shoots with budgets under $5 Million will have only one camera system. That cam-era system will be carefully selected by 3D experts to be reliable. 3D shoots with a larger budget will rent 2 or more cameras systems to speed up production (one rig is getting ready for the next set-up) and as a backup in case of a malfunction.
For our $1 Million budget indie film, the breakdown of the cost increase as it shifts to a 3D shoot is shown in the following table:
Production Stage 2D 3D Difference % Pre-Production $182,452 $207,632 11% Camera Testing $14,940  (5 day, $2,988 per day)  $39,240  (5 days, $7,848 per day)  62% Shoot $587,163(21 days x $27,960) $795,745(25 days x $31,829.80) 26.2% (total)(12% per day)5 Wrap $27,476 $27,976 2% BTL Production $797,091 $1,031,353 23% BTL Post Production $345,227 $359,900 4% Grand Total $1,142,318 $1,391,253 18%

The largest increase in costs is in Camera Equipment (see the variance report below) – a 72% jump from $47,620 to $168,300 when going from 2D to 3D. On a 3D shoot, you will have to rent a 3D rig, including matching cameras and matched lenses and a lot more ancillary equipment rather than on a 2D shoot with a red camera. The overall rental costs may amount to $26,000 per week (after discount) per camera system6.
From camera labour standpoint, there will normally be two additional crew members that are required on set in order to shoot in 3D: a 3D rig technicianand a stereographer. You can combine the 2nd AC position with a 3D Rig technician thus saving some labour costs, which we did when putting together a budget for our low-budget non-union scenario.
Aside from these two positions, the size of the crew remains unchanged when going from a 2D to a 3D shoot7. A slight increase (10 – 15%) in labour costs in the 3D Budget is the result of a difference in our shooting schedules (25 days for a 3D shoot and 21 days for 2D) to allow for a slower pace of production, as mentioned previously.
7 The position of data wrangler (DIT) is now standard on 2D digital shoots, so that position is not an incremental position when shooting in 3D.
Post Production numbers and Dailies Processing Costs have also gone up on a 3D budget as compared to the corresponding line items on a 2D budget but the growth is not significant – 8% for Dailies and 9% for Picture Post Production to allow for depth grading as well as 2% for editorial labour.
The actual detailed line item budgets for the 2D and 3D versions of this film can be downloaded separately in the “Downloads” section of our website:www.FalseCreekProductions.com
Conclusion
Shooting in 3D will entail increased cost of production but this added cost is small (18% on av-erage) when compared to the probable increase in revenues from having your movie shot in 3D. And because the camera rental increase and two extra positions in the crew don’t increase as the budget for the film grows, the percentage increase in costs for shooting in 3D gets small-er as a percentage of your total budget.

Appendix A: Cost of 3D Camera System
This is an estimate for the cost of a 3D crew and 3D camera equipment for a feature film in-tended for theatrical release. These are retail rental prices in effect today. Significant discounts could be available depending on equipment availability at the time of your shoot, early reservation and deposits, and other factors.
We’ve included the entire list of equipment needed including the rig, cameras, prime lenses, lens motors, remote controls for both lenses and rig, on-rig and video village monitors, batteries, data recording machines, SSD cards, batteries, battery chargers, fluid heads, two tripods for set-up, and a DIT machine to offload the SSD’s and make dailies.
If your production is going to be bonded, there may be additional equipment needed to meet the redundancy requirements.
Red One Camera System
This camera system includes:
  • Two Red One bodies with the MX Mysterium sensor
  • Element Technica Quasar or P&S Freestyle Beam-splitter rig with remote controls. The Freestyle is steadicam capable; the Quasar better suited for tripod and dolly shots.
  • 3D Ready pair of Angenieux Optimo DP 16-42mm lenses (1st choice) or two matched sets of six Arri Ultra 35 Prime Lenses (T1.9). It’s critical that the two lens (or sets of lenses) be matched8.
  •  C-motion lens motors and remote
  • Four Red Drive kits
  • DIT station
  • Dailies station
  • Eight Red CF cards
  • 46” Hyundai 3D monitor for video village
  • Transvideo monitor for the rig
  • Eight Anton/Bauer batteries, two charges and UPS
  • Fluid head and two tripods
  • All cables, hardware and accessories
8 Matched Lenses can only be done by the manufacturer or a very experienced third party whose work with lenses you trust. By far the safest choice is to make sure the lenses you rent are guaranteed to be matched lest you find an unpleasant surprise during camera prep.

Weekly retail rental cost: $31,110 (USD)
Appendix B: Composition of the Crew and Assumed Pay Rates
We used 5 (or 6 – for a Scenario 3 budget) levels of rates and applied a particular rate depending on the position with only a few positions having specific weekly/daily rates:
Low Budget Shoot (Scenario 1)
Rate by Level#PositionQtyDepartmentLevel 1 Rate Weekly:  1 Production Manager 1 Production 900 CAD 2 Production Designer/Art Director 1 Art Daily: 180 CAD  Level 2 Rate Weekly:  3 Location Manager 1 Locations (under Production) 665 CAD 4 1st Assistant Director 1 Production Daily: 133 CAD  5 Script Supervisor 1 Production 6 Property Master 1 Props 7 Special Effects Supervisor 1 Special Effects 8 Stunt Coordinator 1 Special Effects 9 Camera Operator 1 Camera 10 Gaffer 1 Electrical 11 Mixer/Sound Recordist 1 Sound 12 Post-Production Supervisor 1 Post Production (Editorial) 13 Sound Effects/ Music Editor 1 Post Production (Editorial) Level 3 Rate Weekly:  605 CAD 14 2nd Assistant Director 1 Production Daily: 121 CAD  15 Costume Designer/Head Ward-robe 1 Wardrobe 16 Make Up Artists 1 Make Up & Hair 17 Hairstylist 1 Make Up & Hair 18 Special Effects Make Up Artist 1 Make Up & Hair 19 1st Assistant Camera 1 Camera 20 Best Boy 1 Electrical 21 Genie Operator 1 Electrical 22 Key Grip 1 Grip 23 Boom Operator 1 Sound 24 Transportation Coordinator 1 Transportation 25 Stunt Driver 1 Transportation 26 Editor 1 Post Production (Editorial) 27 Dialogue Editor 1 Post Production (Editorial)Level 4 Rate Weekly: 28 3d Assistant Director 1 Production 450 CAD 29 Set Decorator 1 Art (Set Dressing) Daily: 90 CAD 30 Special Effects Assistant 1 Special Effects 31 Still Photographer 1 Camera 32 Second Grip 1 Grip 33 Driver 1 Transportation Rate by Level#PositionQtyDepartmentLevel 5 RateWeekly: 34 Location Scouts 1 Locations (under Production) 200 CAD 35 Production Assistants 2 Production Daily: 40 CAD 36 Assistant Wardrobe 1 Wardrobe 37 Electrician 1 Electrical Other Rates (Weekly): 1,000 CAD 38 Accountant 1 Production 1,500 CAD 39 DOP 1 Camera 410 CAD 40 Bookkeeper/Accounting Clerk 1 Production 250 CAD 41 Craft Services 1 Production 545 CAD 42 2nd Assistant Camera Person/Rig Technician (on a 3D shoot) 1 Camera 1200 CAD 43 Stereographer 1 Camera 300 CAD 44 Grip(s) 2 Grip 45 Dolly Grips 1 Grip 50 CAD 46 Intern PAs 3 Production Flat Fee1,200 CAD 47 Storyboard Artist 1 Art Total Number of Crew Members 51
High Budget Indie Feature with Aspirations of Festival Awards (Scenario 2)
Rate by Level#PositionQtyDepartmentLevel 1 Rate Weekly: 1 Production Manager 1 Production 2,100 CAD 2 Production Designer 1 Art Daily: 420 CAD Level 2 Rate Weekly: 3 Location Manager 1 Locations (under Production) 1,700 CAD 4 1st Assistant Director 1 Production Daily: 340 CAD 5 Production Coordinator 1 Production 6 Script Supervisor 1 Production 7 Art Director 1 Art 8 Property Master 1 Props 9 Special Effects Supervisor 1 Special Effects 10 Stunt Coordinator 1 Special Effects 11 Camera Operator 1 Camera 12 Gaffer 1 Electrical 13 Mixer/Sound Recordist 1 Sound 14 Post-Production Supervisor 1 Post Production (Editorial) 15 Sound Effects Editor 1 Post Production (Editorial)Rate by Level#PositionQtyDepartment 16 Music Editor 1 Post Production (Editorial) Level 3 RateWeekly: 17 Assistant Location Manager 1 Locations (under Production) 1,120 CAD 18 2nd Assistant Director 1 Production Daily: 224 CAD 19 1st Assistant Art Director 1 Art 20 Storyboard Artist 1 Art 21 Costume Designer 1 Wardrobe 22 Make Up Artists 2 Make Up & Hair 23 Hairstylist 2 Make Up & Hair 24 Special Effects Make Up Artist 1 Make Up & Hair 25 1st Assistant Camera 1 Camera 26 Best Boy 1 Electrical 27 Genie Operator 1 Electrical 28 Key Grip 1 Grip 29 Boom Operator 1 Sound 30 Transportation Coordinator 1 Transportation 31 Stunt Driver 1 Transportation 32 Editor 1 Post Production (Editorial) 33 Dialogue Editor 1 Post Production (Editorial) 34 Digital Intermediary Technician 1 Camera Level 4 Rate Weekly: 35 3d Assistant Director 1 Production 900 CAD 36 Assistant Production Coordinator 1 Production Daily: 180 CAD 37 Set Decorator 5 Art (Set Dressing) 38 Special Effects Assistant 1 Special Effects 39 Assistant Costume Designer 1 Wardrobe 40 Still Photographer 1 Camera 41 Second Grip 1 Grip 42 Assistant Editor 1 Post Production (Editorial) 43 Drivers 7 Transportation 44 2nd Assistand Camera 1 Camera Level 5 Rate Weekly: 45 Location Scouts 2 Locations (under Production) 600 CAD 46 Production Assistants 5 Production Daily: 120 CAD 47 Production Office Assistants 2 Production 48 Assistant Set Dresser 1 Art (Set Dressing) 49 Assistant Property Master 1 Props 50 Assistant Wardrobe 1 Wardrobe 51 Electrician 2 Electrical Other Rates (Weekly): 4,000 CAD 52 DOP 1 Camera 1,650 CAD 53 Accountant 1 Production 800 CAD 54 Bookkeeper/Accounting Clerk 1 Production 850 CAD 55 Craft Services 1 Production Rate by Level#PositionQtyDepartment1,080 CAD 56 Rig Technician (on a 3D shoot) 1 Camera 3,200 CAD 57 Stereographer (on a 3D shoot) 1 Camera 750 CAD 58 Grip(s) 2 Grip 59 Dolly Grips 1 Grip 150 CAD 60 Intern PAs 2 Production Total Number of Crew Members 81
Union Crew Shoot (Scenario 3)
Rate by Level#PositionQtyDepartmentLevel 1 Rate Weekly: 1 Production Manager 1 Production 3,135 CAD 2 Production Designer 1 Art Daily: 627 CAD 3 Camera Operator 1 Camera Level 2 Rate 4 1st Assistant Director 1 Production Weekly: 5 1st Assistant Camera 1 Camera 2,900 CAD 6 Still Photographer 1 Camera Daily: 580 CAD Level 3 Rate Weekly: 7 Unit Manager 1 Production 2,064 CAD 8 2nd Assistant Director 1 Production Daily: 412.8 CAD 9 Location Manager 1 Locations (under Production) 10 Production Coordinator 1 Production 11 Costumer Designer 1 Wardrobe 12 Script Supervisor 1 Production 13 Art Director 1 Art 14 Property Master 1 Props 15 Special Effects Supervisor 1 Special Effects 16 Stunt Coordinator 1 Special Effects 17 Key Grip 1 Grip 18 Gaffer 1 Electrical 19 Mixer/Sound Recordist 1 Sound 20 Post-Production Supervisor 1 Post Production (Editorial) 21 DIT 1 Camera 22 Transportation Coordinator 1 Transportation Level 4 Rate Weekly: 23 Assistant Location Manager 1 Locations (under Production) 1,650 CAD 24 Assistant Production Coordinator 1 ProductionDaily: 330 CAD 25 1st Assistant Art Director 1 Art 26 Storyboard Artist 1 Art 27 Assistant Costume Designer 1 Wardrobe 28 Make Up Artists 2 Make Up & Hair 29 Hairstylist 2 Make Up & Hair Rate by Level#PositionQtyDepartment 30 Special Effects Make Up Artist 1 Make Up & Hair 31 Set Decorator 5 Art (Set Dressing) 32 Head Wardrobe 1 Wardrobe 33 Assistant Property Master 1 Props 34 2nd Assistant Camera 1 Camera 35 Best Boy 1 Electrical 36 Rig Technician 1 Camera 37 Genie Operator 1 Electrical 38 Second Grip 1 Grip 39 Boom Operator 1 Sound 40 Captain 1 Transportation 41 Stunt Driver 1 Transportation 42 Editor 1 Post Production (Editorial) 43 Sound Effects Editor 1 Post Production (Editorial) 44 Music Editor 1 Post Production (Editorial) 45 Looping Supervisor 1 Post Production (Editorial) 46 Dialogue Editor 1 Post Production (Editorial) Level 5 Rate Weekly: 47 3d Assistant Director 1 Production 1200 CAD 48 2nd Assistant Art Director 1 Art Daily: 240 CAD 49 Assistant Set Dressers 2 Art (Set Dressing) 50 Assistant Wardrobe 1 Wardrobe 51 Assistant Editor 1 Post Production (Editorial) 52 Electrician 2 Electrical 53 Drivers 7 Transportation Level 6 RateWeekly: 810 CAD 54 Production Assistants 7 Production Daily: 162 CAD 55 Production Office Pas 3 Production Other Rates (Weekly): 4,750 CAD 56 DOP 1 Camera 3,800 CAD 57 Stereographer 1 Camera 1,650 CAD 58 Accountant 1 Production 1,620 CAD 59 Craft Services 1 Production 1,530 CAD 60 Grips (including Dolly Grip) 3 Camera 1,440 CAD 61 Property Buyer 1 Props 1,440 CAD 62 Special Effects Assistant 1 Special Effects 1,380 CAD 63 Assistant Craft Services 1 Production 1,290 CAD 64 Bookkeeper/Accounting Clerk 1 Production 1,120 CAD 65 Location Scout 3 Locations (under Production) 1,100 CAD 66 2nd Assistant Editor 1 Post Production (Editorial) Total Number of Crew Members 92


About Post Author

Yennengee Pronounced as NNG. He is Actor, Writer and Film maker from Telangana

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