Brief to Budget
Hand it the brief and it builds the whole budget: crew, gear, departments, all priced.
Price a production in the time it takes to read the brief.
What the thing is, and why it exists.
Every feature, start to finish. Or take it chapter by chapter below.
Twenty years directing. The work I am proudest of, I produced myself.
That is not an accident. When you produce your own film you put the money where the picture shows it. The right camera. The right day. The right crew. Nobody is protecting a margin between you and the frame, so every dollar lands on screen.
There was one part of it I hated.
The budget. Every bid, the same evening lost. The premium tools cost more than the job was worth and none of them had caught up with how anyone actually works now. So it was a spreadsheet. Formulas pasted by hand. Nothing that would drag or drop. Copying between templates to build one quote. An export that looked cheap, and broke anyway depending on whether the client opened it on a Mac or a PC.
I was spending my nights fighting a spreadsheet instead of thinking about the film.
So I built the tool I wanted. Not a cheaper version of what exists. The one I would actually use, on my own jobs, with my own money on the line.
It is the tool this studio bids with. A working quote in a few minutes, not an evening. Rates that match the market you are shooting in. An export you can send without apologising for it. And it costs a fraction of what the old ones charge.
I like producing again. That was the whole point.
Olivier Hero Dressen · Director & Executive Producer
Drop in what the client sent. It comes back as a structured budget with departments, crew, gear and days already laid out. You are editing, not starting from an empty sheet.
Every rate is a median for that market, which means it is close and it is a starting point. Change what you know, leave what you do not, watch the total move as you go. No formulas to repair.
Terms, schedule and conditions are already in the document. One click to a PDF that looks like it came from a studio, and an XLSX for the finance people.
Most are built by software people who have never bid a job. This one was built by a working executive producer, inside a studio that quotes brand films across seven markets, and it is the tool that studio actually uses. The rates are the rates we bid at.
So are ours. It does not lock you into a structure. Every department, line item, rate and term is editable, and you can move the whole thing around as the job changes. The template is a starting point, not a cage.
Neither would I. It only touches what you name. Say remove the kit section and it removes the kit section. If a change strays outside what you asked for, the whole thing is rejected and nothing is applied. Five levels of undo, and you can lock your screen credit, kill fee and payment terms so they cannot be quietly rewritten.
Nothing is uploaded. It runs in your browser and your quotes stay on your machine. If you opt into the rate benchmarks, only the pricing structure is shared, never your project, client, contacts, brief or conditions.
It runs in a browser with no signup and no card. Paste the brief and you have a first-pass budget before you have finished your coffee. If it does not save you time on the first bid, you have lost ten minutes.
Each one stands alone. Start wherever your problem is.
Hand it the brief and it builds the whole budget: crew, gear, departments, all priced.
Drop in a supplier PDF, Excel or CSV and it matches the lines to your open quote.
Move departments and line items around as the job changes, without rebuilding the spreadsheet.
Swap the camera package and every dependent cost updates with it.
Runs in any browser on Mac, PC or Linux. Nothing to install.
Move the production to another market and every rate adjusts, with live exchange rates.
Flights, hotels and permits billed at cost, kept out of your fee and your deposit schedule.
Anonymised ranges showing roughly where your rates sit against others in the same market.
Set your margin and control exactly what appears on the client-facing quote.
Type or dictate a change and review every adjustment before it is applied.
The shooting schedule sits in the same document as the budget.
Payment terms, usage rights and cancellation clauses, then one-click PDF or XLSX.
Everything a production quote needs, in one document you can send.
Twelve things a production quote must contain, or the job will cost you more than it pays. Terms, usage, overtime, cancellation, contingency, margin. Twenty years of bidding, in five pages. Free, no account.
One email. The checklist, nothing else.
What people ask before they start budgeting.
Production budgeting software builds and prices a film, video or photo production budget: crew day rates, equipment, locations, post and overheads, in one document you can export as a client-ready quote. Production Mogul does this in a browser, with real market rates built in.
You break the production into departments, price each line at the going day rate for your market, add your margin and your terms, then export a quote the client can read. Production Mogul starts from a brief and builds that structure for you, so the first draft takes minutes instead of an evening.
Rates differ enormously by market. Production Mogul opens with median rate levels for Los Angeles, New York, Paris, Belgium, Shanghai, Dubai and Bangkok, each in its local price level and currency, with live exchange rates and an optional second currency for the client. They are a fast starting point, not a fixed price list, and every line is yours to adjust.
Mark that department pass-through. The cost stays out of your fee base and out of your deposit schedule, and the quote prints it as invoiced separately at cost, so there is no markup to defend.
Yes. Drop in a PDF, Excel, CSV or pasted text and it matches the supplier lines to your open quote. You can rebuild the whole budget from it, or update prices only, with a preview of every change first.
Production Mogul runs free in your browser with no signup and no card. You can build complete budgets in the trial. Exporting, saving and printing unlock with a licence at $19 per month or $190 per year.
No. It runs in any modern browser on Mac, Windows or Linux. After subscribing, a licence key arrives by email and activates in about ten seconds.
The benchmarks show anonymised, aggregated ranges from other quotes in the same market, so you can see where your rates sit against your peers before you send the bid.
It can build the structure and price it against market rates in minutes, which is the slow part. What it should not do is change things you did not ask for. Production Mogul only edits what you name: say remove the kit section and it removes the kit section. If a change strays outside the instruction, the whole edit is rejected and nothing is applied, with five levels of undo behind it.
The standard bid structure US agencies expect, lettered A to P, covering pre-production through post. Using it means your bid lines up line for line against the competition rather than making a client translate your format. Production Mogul can start a budget from the AICP form, a department template, or a blank sheet.
The employer costs carried on top of a day rate: pension, health and welfare, payroll tax, workers compensation and payroll handling. They vary by market, by union status and by department, and leaving them out is one of the most common ways a budget comes up short. Production Mogul carries them per department with editable defaults, which also covers French and Belgian social charges.
Above the line is the creative and rights side: director, producer, writer, talent. Below the line is everything it takes to shoot and finish: crew, equipment, locations, post. Clients and financiers expect to see them subtotalled separately, and Production Mogul does that by default.
Commonly five to ten percent depending on how locked the job is, but the number matters less than defining it. State the percentage, what it may be spent on, who authorises it and what happens to it unspent. Undefined contingency quietly becomes a discount at the end of the job.
The amount payable if a job is cancelled after you have committed time, crew or bookings. It usually sits inside a cancellation ladder: a percentage at fourteen days, more at seven, more at forty-eight hours, full fee on the day. Write it in days rather than dates so it survives a schedule change.
Yes. There are presets for film and video, AI video, photo and print, and AI print, each with its own crew roles, day rates and department structure ready to edit.
It runs in any modern browser, including on a phone, which is useful when a rate question lands while you are on the way to a recce. Nothing is uploaded and your quotes stay on your machine.
Start from the median rates for that market and adjust what you know. Production Mogul carries seeded rate levels for London, Los Angeles, New York, Paris, Bangkok, Cape Town and Dubai, 229 roles each traceable to a published source, with live exchange rates and an optional second currency for the client.
Your cost lines, your margin and your benchmark comparisons. The client sees a priced document with your terms, logo and colours. Internal numbers stay internal and never print.
You don't believe me? Try it.
Built by a Cannes Lion–winning director and executive producer, inside a working studio, on the jobs it was made for.