I do think 45 days is excessive for an hour of content. We should be able to get a 3-minute show done every shoot day. Would it be a good idea to ask what level of production value they're looking for? I don't want to make them feel like their money is only going to get them a certain level of quality, but I also want to be realistic about their expectations.
I shot 6x 10-minute episodes for a web series in eight 10hr 45min days. Our production value was pretty decent, we called in a lot of favours, got a lot of 'mates rates' on gear etc. It was no HBO, but we worked the budget for everything we could. They were eight hard days, we had two cameras operating all the time (2x Amiras), and we spent 5 days in studio on a set, so we set lights and didn't move them much, so were able to move a lot quicker. But we got it done. If we'd had more money, it probably would have only needed an extra couple of days or so.
It's easier to make a budget go further if you're only paying people (and equipment) for eight days compared to 45.
Our budget was also much less than $200,000
If you're getting one 3-minute show done every shoot day, then why should you need longer than 20 days? Even allowing for 5 extra days to account for pickups and lost time, you've effectively cut the schedule in half.
Personally, I think you could probably do it in 2-2 1/2 weeks (10-15 shoot days) but that's without seeing the script or knowing anything about the project.
Keep in mind, that's
just the production phase, not to mention pre, and post. Sound post, picture post, colour grading etc etc.
Your production value is likely to be at least somewhat dependant on the deals you can negotiate.
Already have one in mind - he's worked as 1st AD, production coordinator and line producer on over 25 big budget feature films. What should I expect to pay him as 1st AD? Because of the size of the budget, I'm expecting to have a skeleton crew, its members each playing multiple roles within the production (for example, the DP may also play the roles of cam op and grip).
Again, if you can cut your schedule down, you can afford to have more crew, which means you will get more done in the time. A skeleton crew might take you 20+ days to shoot 60 minutes, if your DP is shooting, and setting up lights and grip gear, and doesn't have an AC.
Are you friends with this guy? It could be a good idea to get him on as your Line Producer. He'll be able to help you break down your budget better, schedule more appropriately, possibly has friends who he can call in for cheaper rates etc.
But then, what is your exact position. If he's doing the money/breakdown side - what will you be doing?
I've just been told (through the agency who referred me) that I'll be "leading the production". What do you mean by extra responsibility?
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I'd want to know what 'leading the production' is. DIrecting? Producing? Showrunning?
If you're the Producer and the set runs over-time, then you're going to have to deal with that. You're going to have to make calls on whether you want to pay crew OT to keep working, or pay for another shoot day, and all those sorts of things.
