Line Producer

The Sins of Our Father is a non-union independent feature written and directed by Tibet Karayazgan, shot in Vancouver over a summer of alternating weekends. I came on as Line Producer, which on a production this size means I own the budget end to end — and, in practice, whatever logistics gap shows up that week too.

I tracked spend against a production budget across every department — art, camera and grip, sound, transportation, catering, locations and permits, film and lab — with a contingency reserve held back for the inevitable surprises. A lot of the job was less glamorous than it sounds: reconciling receipts, getting crew reimbursed for what they'd fronted out of pocket, and catching a category drifting over forecast early enough to actually do something about it.

We landed production close to plan against the ~$12,000 budget, which on an indie shoot with this many moving pieces felt less like luck and more like the payoff of tracking it obsessively from day one.

"Some logistics" ended up meaning things like running shuttle routes to get cast and crew to set on time, and — on days where we were short a body — stepping into small background and day-player roles myself so we didn't lose a setup. It's not what the title says on paper, but it's a lot of what actually makes a shoot day work.

Production wrapped within budget. Post-production — editing, music, visual effects, sound, and the final film and lab work — is next, and I'm currently leading fundraising to cover it as we get ready to pitch the finished film to distributors.